Journal articles on the topic 'Feature films – united states'
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1
McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 194. http://dx.doi.org/10.21992/t9w34w.
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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized culture, representations of the tango in the United States both create and reinforce a master discourse that inextricably ties the tango to an exoticized and eroticized Latin “Other.”
I conclude by discuss how the racialized and sexualized narratives discussed throughout this paper are integrated into contemporary performance of the tango. I draw on ethnographic research with tango communities throughout the United States to illustrate how 20th century filmic representations of the tango continue to motivate, influence, and inform how, when, and why the Argentine tango is performed by U.S. dancers and musicians. Films analyzed include Four Horsemen of the Apocalypse, Some Like it Hot, Last Tango in Paris, and The Scent of a Woman, as well as a variety of lesser-known films and television advertisements. Although a large variety of 20th century films feature the tango, the films discussed in this paper were selected for analysis due to the frequency with which they are referenced by tango aficionados and contemporary tango dancers, musicians, and deejays performing throughout the United States today.
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Sheppard, W. Anthony. "An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood." Journal of the American Musicological Society 54, no. 2 (2001): 303–57. http://dx.doi.org/10.1525/jams.2001.54.2.303.
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Abstract The cinema was the most effective medium for anti-Japanese propaganda in the United States during World War II and was the site of music's most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. This essay analyzes some sophisticated examples of musical propaganda that offer new perspectives for the study of cross-cultural musical encounters. For many in the United States, Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.
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Vétu, Guillaume. "Animist influence and immutable corporeality: Repositioning the significance of Japanese cinematic zombies." East Asian Journal of Popular Culture 7, no. 1 (April 1, 2021): 115–34. http://dx.doi.org/10.1386/eapc_00042_1.
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In terms of zombie film output, Japan’s is perhaps the second largest in the world after the United States and above the United Kingdom. Yet only a relatively small number of these films have received academic attention. Having sourced and verified an exhaustive catalogue of over 160 feature-length Japanese zombie films produced between 1959 and 2018, and through recent field work in Japan, including personal interviews with local film, media and folklore scholars and professionals, this article constructs a clearer overview of this uncharted corpus. It presents some of the most predominant cultural specificities of Japanese zombie films and their compelling narrative and stylistic heterogeneity. Previous assertions confined these films to a ‘cult’ sub-genre, restricting the Japanese monsters they feature to mere western imports; however, this article demonstrates that Japanese cinematic zombies defy simple categorization and repeatedly challenge some of the key posits at the centre of zombie studies, especially regarding their defining characteristics. The Japanese folklore and literary tradition in particular provides a new lens through which these popular fictional ‘Others’ can be (re-)examined, uncovering new significance and offering new insights into both Japanese and western cultures.
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Auwen, Aurora, Mark Emmons, and Walter Dehority. "Portrayal of Immunization in American Cinema: 1925 to 2016." Clinical Pediatrics 59, no. 4-5 (January 22, 2020): 360–68. http://dx.doi.org/10.1177/0009922819901004.
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The American media often disseminates antivaccination messages. Cinema in particular reaches many individuals and influences attitudes regarding high-risk behaviors such as smoking and alcohol use. We hypothesized that negative cinematic portrayals of immunization have increased over the last 3 decades. Films released in the United States featuring immunization through 2016 were identified on IMDb and viewed in their entirety by 2 reviewers. Themes were recorded, and the portrayal of immunization (positive, negative, or mixed) across each decade was assessed in a logistic regression model. Cultural references attributed to films (eg, television references) were recorded from the “connection” feature on IMDb. Fifty relevant films were identified (1925-2016). Negative/mixed portrayals of immunization were more frequent after 1990 (odds ratio = 4.0, 95% confidence interval = 1.2-13.5), and films with positive immunization portrayals garnered significantly fewer cultural references than films with negative/mixed portrayals (mean = 9.2 vs 56.2, P = .048). American cinema features increasingly negative portrayals of immunization.
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Shrock, Joel. "Desperate Deeds, Desperate Men: Gender, Race, and Rape in Silent Feature Films, 1915–1927." Journal of Men’s Studies 6, no. 1 (October 1997): 69–89. http://dx.doi.org/10.1177/106082659700600104.
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Many of the top-grossing feature films spanning from 1915–1927 utilized rape as a device for defining manhood and thereby establishing power relationships. The images of rape in these silent films idealized the power of respectable white men over the men and women of other classes and races and subordinated the women from their own social station. These movies constructed white men as heroes and guardians of morality and civilization, white women as frail but morally superior figures, and African-American and immigrant men and women as uncontrollable sexual deviants who threatened civilization. These films reflected the fears of the white middle class that massive immigration, waves of black migration to the North, and the increasingly public role of women were irrevocably changing American society and threatening the power of the traditional dominant group in the United States: white middle- and upper-class men.
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Moore, Cornelius. "African Cinema in the American Video Market." Issue: A Journal of Opinion 20, no. 2 (1992): 38–41. http://dx.doi.org/10.1017/s004716070050153x.
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There are probably a billion videocassettes in the United States. Yet few, probably under a thousand, are African films. I want to ask why this is and describe a strategy to change it.How can one of the least known and most under-funded cinemas in the world, African cinema, find a place in the most lavishly promoted and capitalized media marketplaces on earth, the U.S. feature film market?
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Klenotic, Jeffrey. "‘Big’ and ‘little’ Quo Vadis? in the United States, 1913–1916: Using GIS to map rival modes of feature cinema during the transitional era." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 5–25. http://dx.doi.org/10.14746/i.2022.41.01.
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This article emanates from a geospatial database of over 600 premieres of the Cines company’s Quo Vadis? (1913), an eight-reel film distributed by George Kleine, and nearly 250 premieres of the Quo Vadis Film Company’s Quo Vadis? (1913), a three-reel film of ambiguous origins distributed by Paul De Outo. By mapping local premieres of both films across the United States from 1913 through 1916, the data show with spatiotemporal precision the spread of Quo Vadis? as one of cinema’s early blockbuster titles. Yet within this national phenomenon, the two films’ footprints reveal differing cultural geographies served by competing efforts to feature Quo Vadis? using alternative practices of distribution and exhibition. The study finds that Quo Vadis? played a more complex role mediating the rise of features than is yet known, serving rival modes of cinema where longer, more expensive films were celebrated but also contested.
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Porst. "United States v. Twentieth Century-Fox, et al. and Hollywood's Feature Films on Early Television." Film History 25, no. 4 (2013): 114. http://dx.doi.org/10.2979/filmhistory.25.4.114.
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Miranda-Barreiro, David. "‘Little Spain’ or ‘Little Galicia’?" Journal of Romance Studies 20, no. 3 (December 1, 2020): 489–512. http://dx.doi.org/10.3828/jrs.2020.26.
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This article studies three cinematic representations of the Galician migrant community in the United States: the documentaries Os 15000 de Newark (2007) and Little Spain (2014), and the feature-length film Little Galicia (2015). The analysis of these films focuses especially on the influence of their chosen framing on the migrants’ performance of their cultural identity. By assessing the performative aspect of identity, this article also examines the possibility of considering Galicianness as a transnational positioning, globally or glocally performed, rather than a geographically fixed essence.
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Garðarsdóttir, Hólmfríður. "Ante la indiferencia: Representaciones visuales que reafirman cómo la decepción utópica se vuelve distópica." Bergen Language and Linguistics Studies 10, no. 1 (November 14, 2019): 12. http://dx.doi.org/10.15845/bells.v10i1.1449.
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Faced with indifference: Visual representations that endorse utopian expectations turning dystopic.
Every year, in an attempt to reach the United States, hundreds of thousands of undocumented migrants from Central America cross Mexico atop freight trains that are referred to by names such as “The Beast” or “The Train of Death.” Driven by extreme economic conditions, civil unrest and violence in their home countries, and, in some cases, the desire to reunite with relatives already living in the United States, adult individuals, families, and even unaccompanied children and adolescents embark on this perilous journey. In doing so, they risk falling victim to abuse, extortion, sexual assault, and other forms of violence at the hands of brutal gangs, organized crime, and corrupt officials. Many lose their lives.
This study examines various aspects of the passage of undocumented Central American migrants through Mexico, viewing the situation from the perspective of human rights violations and social exclusion. It addresses the specifics and realities of the migrants’ dangerous journey north, and reviews the main factors that lead these people, who are mostly from El Salvador, Guatemala, and Honduras, to leave their home countries in search of better conditions and a chance to live what they regard as the American Dream.
The experiences of Central American migrants have been the subject of several documentary films which provide both a narrative and visual representation of the journey north through Mexico. This study will analyze a series of documentaries as well as the feature films Sin nombre (2009) y La jaula de oro (2013) and consider whether the films accurately illustrate the harsh realities that undocumented migrants face while attempting to reach the United States and the extent to which they provide insight into their lives and experiences.
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Theophilopoulos, Constantine. "State compulsion of smartphone security features and the privilege against self-incrimination." South African Journal of Criminal Justice 36, no. 2 (2023): 282–303. http://dx.doi.org/10.47348/sacj/v36/i2a5.
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There is currently a lacuna in statutory and case law about the legal nexus between smartphone technology in the form of password/code or biometric-locked smartphone security features and the privilege against self-incrimination. This paper examines whether a recipient of a cyber-warrant, subpoena, or other compelling order, may invoke the privilege against self-incrimination in the face of a state order compelling the production of a security feature in order to unlock a smartphone and forensically access stored incriminating data files as admissible relevant evidence at trial. This paper examines the legal nexus by critical reference to relevant South African legislation, comparative international law, the Fifth Amendment privilege, and the foregone conclusion doctrine as described by the USA Supreme Court in Fisher v United States, Hubbell v United States and other federal courts.
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Lozano, Jose Carlos. "From Parochialism to Cosmopolitanism in the American Audiovisual Supply? Netflix’s New Releases of Television Fiction in the United States and their Geographical Diversity." Anagramas Rumbos y Sentidos de la Comunicación 20, no. 40 (May 19, 2022): 200–223. http://dx.doi.org/10.22395/angr.v20n40a9.
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The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demandplatforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix.
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Buranok, Sergey Olegovich. "Methodological features of the study of «combat films» in the United States of 1941-1945." Samara Journal of Science 11, no. 1 (March 1, 2022): 246–49. http://dx.doi.org/10.55355/snv2022111215.
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In modern studies on the history of wars, a fairly popular direction is the study of information discourse specifics. A special role in this discourse is played by propaganda through cinematography, which uses images, historical symbols and stable metaphors, the appeal to which can form a certain public reaction. The study of the main aspects of this topic is impossible without recourse to interdisciplinary methods of the humanities, developed as a result of a number of turns in the development of modern humanitarian knowledge, including anthropological, linguistic, cultural, calling to study the perception of the world, human behavior in the past in the totality of socio-economic, political, cultural practices adopted in the studied society at a given time. In addition, an appeal to the methods of historical imagology will make it possible to trace the evolution of the process of visualization and mythologization of the Second World War in US cinematography more accurately. Without the study of the basic principles, methods, mechanisms and tools of this process it is extremely difficult to understand the peculiarities of the development and interaction of cinema and US propaganda at subsequent historical stages and the present. American scientists have achieved significant results in the study of directors creative biographies, in the specifics of their interaction with federal government bodies, and in the analysis of the activities of the Office of War Information in the field of cinematography.
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Wolf, J. A., K. A. Peterson, P. T. Vianco, M. H. Johnson, and S. Goldammer. "Robustness and Versatility of Thin Films on Low Temperature Cofired Ceramic (LTCC)." International Symposium on Microelectronics 2011, no. 1 (January 1, 2011): 000559–65. http://dx.doi.org/10.4071/isom-2011-wa3-paper6.
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Thin film multilayers have previously been introduced on multilayer low temperature cofired ceramic (LTCC). The ruggedness of a multipurpose Ti-Cu-Pt-Au stack has continued to benefit fabrication and reliability in state-of-the-art modules. Space optimization is described, preserving miniaturization of critical spaces and component pads. Additional soldering details are also presented, including trends with solder-stop materials. Feature compensation becomes a simple step in the normal manufacturing flow which enables exact targeting of desired feature sizes. In addition, fine details of the manufacturing process, including ion milling, will be discussed. We will discuss full long-term aging results and structural details that reinforce the reliability and function. Different thin film materials for specific applications can be exploited for additional capabilities such as filters and other integral components. Cross sections verify the results shown. This successful integration of thin films on LTCC points to higher frequencies which require finer lines and spaces. Advancements of these applications become possible due to the associated progression of smaller skin depth and thinner metallic material. This work prepared by The Kansas City Plant for the United States Department of Energy under Contract No. DENA0000622. The Kansas City Plant is operated by Honeywell Federal Manufacturing & Technologies, LLC.
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Fernandes, Vitor, and Claudio Vescia Zanini. "We’re doing this because you were home: an analysis of elements of the slasher formula in The Strangers (2008)." Literartes 1, no. 15 (December 21, 2021): 215–42. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2021.188450.
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This article verifies how Bryan Bertino’s 2008 film The Strangers articulates the slasher formula (CLOVER, 2015; DIKA, 1985) in order to tell a horror story that is in tune with the cultural context from the first decade of the 2000s in the United States. Drawing from analyses of the cultural impact of the terrorist attacks on September 11th, 2001, we point out evolutions in the slasher convention, including the dissidence from slasher films made to be deeply self-referential and campy. We also demonstrate how the recognizable structure is subverted to play with viewer expectations, potentializing its bleak and nihilistic ending, a narrative feature described by Pinedo (1996) as a post-modernist trend that breaks away from the classical horror structure.
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Levin, Yaroslav A. "Image of Ally." Galactica Media: Journal of Media Studies 4, no. 4 (December 12, 2022): 210–22. http://dx.doi.org/10.46539/gmd.v4i4.267.
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World War II was a time of increased rapprochement between the United States and Great Britain. After a long rivalry and outright hostility in the XVIII-XIX centuries, by the beginning of the 20th century, these two countries began to get closer with time, which was reflected in the gradual design of the concept of “Special Relations” between the United States and the United Kingdom. The rapprochement required strong propaganda support to explain political changes to the population. Due to its accessibility, clarity and brightness, cinema has become one of the main tools for promoting the new paradigm of US foreign policy. In this study, we examined the problem of constructing the image of Great Britain in American cinema in 1942. The purpose of this article is to identify the main features and stereotypes of perception used by American filmmakers and propagandists in building the image of an ally. Based on an analysis of 1942 films, a number of specific features were identified that were used in cinema to form the image of Great Britain as an ally.
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Rooks, Daisy, and Carolina Bank MuÑOz. "Brilliant, Bored, or Badly Behaved? Media Coverage of the Charter School Debate in the United States." Teachers College Record: The Voice of Scholarship in Education 117, no. 8 (August 2015): 1–48. http://dx.doi.org/10.1177/016146811511700802.
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Background In recent years, charter schools have received a great deal of media attention, appearing in documentary films, newspaper articles, magazine profiles, television news programs, and even sitcoms and feature films. The media is not alone in its interest in charter schools; researchers in the public and for-profit arenas have also focused their attention on charter schools in recent years. Questions This paper employs qualitative content analysis to answer the following questions: What information have journalists contributed to the charter school debate in the United States? And how might this information have shaped or influenced the debate? Research Design To answer these questions, we conducted a qualitative content analysis of print media coverage of the early years of the charter school debate. We analyzed 145 articles about public charter schools and public alternative schools that appeared in the New York Times and Los Angeles Times between 1994 and 2006. We developed two types of coding categories: descriptive and interpretive. The descriptive coding categories captured the following information about each article in our dataset: the publisher, the type of school described and the student population. The interpretive coding categories captured reporters’ descriptions of the students, teachers, resources, and institutional cultures of charter and alternative schools. Findings Our analysis uncovered several interesting themes. First, we found that print media depictions of charter and alternative school teachers tended to be more positive than media depictions of teachers in traditional public schools. This was especially true of print media coverage of charter schools that serve low-income students and/or students of color. Our analysis also cast doubt on a core assumption of the charter school debate; that charter schools’ approach to educating their students differs significantly from that of traditional public schools and public alternative schools. In their articles about charter schools that serve middle-income students, reporters described institutional cultures and pedagogical strategies identical to those found in alternative schools with similar student populations. When reporting on alternative schools that serve low-income students and/or students of color, reporters described pedagogical strategies that mirrored those found in charter schools with similar student populations. Recommendations Further research is needed to determine whether charter and alternative schools are educating their low- and middle-income students differently. If future research confirms this, we warn that charter and alternative schools could be preparing their low-income students and/or students of color inadequately for higher education and work in professional environments.
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Artamonov, G. A., and A. S. Orlova. "Features of the Embodiment of the Image of the Enemy in the Game Cinema of Modern Russia." Prepodavatel XXI vek, no. 4, 2019 (2019): 312–22. http://dx.doi.org/10.31862/2073-9613-2019-4-312-322.
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The article deals with the analysis of game films and TV series about local conflicts near the borders of Russia during the last 20 years, in the context of the transformation of the image of the enemy. If in the 2000s, due to the release of a large number of films about the situation in Chechnya, along with Chechen militants, the source of the threat were Islamists, leaders of international terrorism, in the last decade in Russian cinema, the tendency to show the action of the United States and NATO as aggressive, using the methods of information warfare. «Internal enemies», embodied in films about the Chechen conflict, in the 2010 are shown on screens less often, which indicates the desire to show the Russian society as a consolidated one. It is emphasized that the actions of the Russian leadership in the 1990s are opposed to the course adopted with the coming to power of the new President.
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Powell, Ryan. "Hardcore Style, Queer Heteroeroticism, and After Dark." Feminist Media Histories 5, no. 2 (2019): 111–47. http://dx.doi.org/10.1525/fmh.2019.5.2.111.
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During the early to mid-1970s, when feature-length hardcore films became a popular cultural phenomenon in the United States, hardcore came to designate more than just a genre or an industry—it became a ubiquitous mode of performance, an ethos, and a style. This article explores how hardcore as a style was taken up by the popular gay-marketed entertainment magazine After Dark. Through a close descriptive analysis of three photo spreads from 1975–76, it illuminates how female, gay male, and otherwise non-straight-identifying performers participated in a hardcore stylistic that, paradoxically, worked to shape queer elaborations of heteroeroticism. Within these vital images of singers, dancers, models, and performance artists, created at the height of hardcore's newfound cultural influence, performances of female-male coupling and group-centered socio-sexual activity both worked with and moved to dissolve normative heterosexist configurations of sex and gender.
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Xu, Zhinan. "The Effectiveness of Ideological Communication in Mainstream Films Based on Semantic Networks --Taking the Chinese and American Movie Reviews of Top Gun: Maverick as an Example." Communications in Humanities Research 10, no. 1 (October 31, 2023): 193–206. http://dx.doi.org/10.54254/2753-7064/10/20231317.
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The co-occurrence networks are used as a tool for examining and interpreting discourse analysis to reveal the attitudes and perceptions implicit in film reviews. Based on the self-constructed corpus of online movie reviews in China and the United States, this research generates co-occurrence word-sense networks and summarizes three frameworks: sequel narrative, heroic narrative, and military narrative, and further reveals and explains the ideologies and linguistic features revealed in the different discourse frames. At the macro level, the Chinese and American audiences evaluation of the film shows different results of medium and medium-high. At the micro level, corresponding to the three frames, Chinese and American audiences construct images of commercial sentiment films and dramatic action films, national propaganda films and Hollywood hero films, U.S. Air Force propaganda films and U.S. Army recruitment advertising films; under the hero narrative frame, individual heroism and collectivism are realized side by side in the audiences discourse; under the military narrative frame, the political identity of transnational narratives is not realized in Chinese audiences.
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Kümmerling-Meibauer, Bettina. "Introduction." Journal of Educational Media, Memory, and Society 5, no. 2 (September 1, 2013): 39–44. http://dx.doi.org/10.3167/jemms.2013.050203.
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The study of children’s films is a complex and demanding issue, involving a range of critical, educational, psychological, cultural, institutional, and textual aspects. “Children’s films” can be a broad and ambiguous term; there are films aimed at children, films about childhood, and films children watch regardless of whether they are children’s films or films targeted toward adults. The rise of an expanding children’s film industry (including the accompanying merchandizing products) in the United States and many European countries presents a further challenge to the study of children’s films. In some countries, children’s films are included in the general school curriculum; this indicates that children’s films are a key part of children’s culture that requires educational attention. Another fact to which the inclusion of children’s films in school curricula points is the crucial role of these films in the development of media literacy, due to the fact that children come to recognize and understand the typical features of films by means of a gradual process which takes a substantial amount of time. The acquisition of a “film language” presupposes the ability to comprehend the symbolic meanings of images, the close relationship, upon which films depend, between a moving image, sound, and speech, and prototypical properties of films, such as shots, zooms, cuts, camera perspective, and voice-over.
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Buranok, Sergey Olegovich, and Daria Yurievna Selifontova. "China and the war in the cinema of the USA in 1941–1942." Samara Journal of Science 11, no. 4 (December 1, 2022): 200–204. http://dx.doi.org/10.55355/snv2022114206.
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The study of the USA cinema during World War II is interesting not only from the point of view of forming the image of the enemy, but also of allies. This will allow us to determine more accurately what visual propaganda techniques were used by American directors. The image of China was always significant for the American information discourse: through it they created and adjusted of ideas about the East as an arena of struggle between the USA and Japan. This paper reveals features of the process of mythologizing the Second World War in the American cinema in 19411942, through an analysis of the features of constructing the image of China in the USA films. This will make it possible to judge the cinematography of the war years as a special phenomenon of the socio-political and cultural life of the United States of America. In addition, the features of American films about China, the methods and techniques of propaganda, and the role of cinema in the overall system of the American propaganda are clarified. The features of the process of visualization and mythologization of the Second World War in American society are determined as a historical phenomenon of the public life of the United States of America, which reflects both general (characteristic of civilization as a whole) and national patterns. The authors study interethnic imagological plots (the image of enemies and allies on the screen) as well as internal ones (American volunteers, the image of America), which have no less strong influence on the formation of the American national self-concept in a historical crisis period.
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Ford, Akkadia. "Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema." Somatechnics 9, no. 1 (April 2019): 58–83. http://dx.doi.org/10.3366/soma.2019.0265.
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Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.
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SHUMILINA, INNA V. "Features of Screen Construction of the Image of the President of the United States: Hollywood—Media—Politics." Art and Science of Television 18, no. 1 (2022): 113–58. http://dx.doi.org/10.30628/1994-9529-2022-18.1-113-158.
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Analysis of the text and the context of screen production is a necessary link for comprehending social processes. Capturing time through the screen and film images allows us to form an idea of the actual cultural, aesthetic, ideological (value) specificity of society. Whether cinema is a reflection of the truth of life, or a form of secondary communication, or a means of formation of viewers’ worldview positions, are the questions, the relevance of which has increased significantly against the geopolitical background of the first quarter of the 21st century. This article is an attempt to analyze how it works today in the US—using some examples of political cinema in conjunction with the media agenda. According to my study, the specific potential of cinema, combining different ways of communication and information, clearly highlights the American socio-political realities. As the traditional frameworks of filmmaking expand (meaning the Internetization of space and the possibility to shoot a movie on a mobile device), the specifics of filmmakers’ work are transforming too: a more active use of media principles of presenting socially significant information is noted, and the stylistics of materials change as well (shifting to journalism, keen satire or sharp documentary style). The article traces the influence of modern media on the film content and examines the most famous “politically charged” films against the background of the centerpiece of the American domestic politics—the presidential elections.
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Hamilton, Annette. "Fragments in the Archive: The Khmer Rouge Years." Plaridel 15, no. 1 (June 2018): 1–14. http://dx.doi.org/10.52518/2018.15.1-01hmlton.
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Cambodia’s cinema history is strange and surprising. Popular films from France and the United States circulated through the Kingdom during the French colonial period. The 1950s and 60s saw extensive local production with the enthusiastic support of King Norodom Sihanouk, himself a passionate film-maker, but the Khmer Rouge regime (1975-1979) destroyed most of the existing material, including hundreds of feature films, raw footage and countless other ephemeral documents. In 2006, after representations by film-maker Rithy Panh and others, the Bophana Audio-Visual Research Centre was established in Phnom Penh to comb the world for every fragment of film and audio material relating to Cambodia’s history in order to reproduce it in an accessible digitized form. The archival preservation and duplication has continued apace. However the ethical use of these materials presents challenges. Contemporary documentary makers and digital enthusiasts frequently use fragmentary footage to support their political or historical interpretations without attribution or context. This paper discusses a propaganda film featuring the former King Norodom Sihanouk and his wife Monique shot in1973 in collaboration with the Communist Chinese, the North Vietnamese and the Khmer Rouge. Short scenes and extracts from this film circulate online and appear in many documentaries. The “archive effect” of this footage raises questions about the source and circulation of archival images with significant historical and political consequences.
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Charlot, John. "Vietnamese Cinema: First Views." Journal of Southeast Asian Studies 22, no. 1 (March 1991): 33–62. http://dx.doi.org/10.1017/s0022463400005452.
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Vietnamese cinema has only recently become known outside of the East Bloc countries. The first public showing of a Vietnamese feature film in the United States was that of When the Tenth Month Comes at the 1985 Hawai'i International Film Festival in Honolulu. At the 1987 Festival, a consortium of American film institutions was formed with Nguyen Thu, General Director of the Vietnam Cinema Department, to organize the Vietnam Film Project — the first attempt to introduce an entire new film industry to America. The purpose of this article is to provide a brief description of Vietnamese cinema along with an appreciation of its major characteristics and themes. I base my views on my two visits to the Vietnam Cinema Department in Hanoi — for one week in 1987 and two in 1988 — on behalf of the Hawai'i International Film Festival. During those visits, I was able to view a large number of documentaries and feature films and to discuss Vietnamese cinema with a number of department staff members. I was able to obtain more interviews during the visits of Vietnamese to the Hawai'i International Film Festival in Honolulu. This article cannot claim to be an adequate introduction to the history of Vietnamese cinema, a task I hope will be undertaken with the aid of my informants and the sources I list as completely as possible.
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Buranok, Sergey. "The 1942 Film Wake Island: Features of the Propaganda and Visualisation of World War II in the United States." Novaia i noveishaia istoriia, no. 5 (2022): 142. http://dx.doi.org/10.31857/s013038640019695-2.
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In contemporary studies in war history, the study of the specifics of the discourse in question is a fairly popular area of research. The evolution of the process of visualisation and mythologisation of World War II in American cinematography is analysed using the methods of historical imagology. It is hard to grasp the peculiarities of the evolution of and interaction between US cinema and propaganda without exploring the basic principles, methods, mechanisms, and tools of this process. The main research goal is to establish the features and methods of propaganda used in the film Wake Island. Wake Island combines old and new methods of war propaganda and visualisation. Wake Island is a good example of the early evolution of both US state propaganda through cinema and the development of the visual image of World War II, which was influenced by both the social mythology associated with the US historical past and foreign policy failures, such as the collapse of US-Japan negotiations in 1941, the attack on Pearl-Harbor, and the defeat in the Battle of Guam in December 1941, as well as socio-economic changes in the country. The film Wake Island created a new image of the Marine: a universal hero for a series of films from 1942–1945.
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EMILIANO, Gustavo Barbalho Guedes, Fernando Souza MARINHO, and Rogério Nogueira de OLIVEIRA. "Potential contribution of periapical radiographic film image processing for forensic identification." RGO - Revista Gaúcha de Odontologia 64, no. 4 (December 2016): 484–89. http://dx.doi.org/10.1590/1981-8637201600030000193215.
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ABSTRACT Periapical X-rays are the most common complementary tests in the dental clinic. The indication of image tests in forensic identification depends on the produced X-rays quality. The image processing of conventional radiographs can improve image quality. This study aimed to report the potential contribution of image processing from radiographic films by digitally edited periapical radiographs for case reporting of positive identification. The results of anthropological examinations and dental arches of the victim matched the information transferred by the family of the missing person. The antemortem and postmortem periapical radiographs were digitized on photo scanner (Hewlett-Packard Development Company, HP ScanJet G4050 Photo, United States) and images were processed in Corel PaintShop Pro X4 editing software (Corel Corporation, v14, Canada). The comparison of antemortem and postmortem periapical radiographs digital images allowed to determine 8 concordant points in the contour and delimit the maxillary sinus as well as periodontal and dental structures of the tooth 17. Identification of the individual was possible by digital editing of radiographs in computer software. Editing allowed adjusting image brightness, contrast and sharpness, color temperature and saturation of tooth-jaw structures. Such technological feature effectively contributed to positive identification performed by Forensic Dentistry.
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Ying, Yafei. "Analyzing Feminism in Silence of the Lambs from the Perspective of Power." BCP Social Sciences & Humanities 21 (February 15, 2023): 263–70. http://dx.doi.org/10.54691/bcpssh.v21i.3502.
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The Silence of the Lambs, released in 1991 in the United States, is one of the first Hollywood films to feature women as subjects. The film has a certain historical background that makes it a good material for studying the development of the women’s movement and the response of traditional patriarchal society to the improvement of women’s status. This paper analyzes the feminist content in the film from the perspective of power, combining the history of the development of the women’s movement with the growth of the characters, and refines problems faced by feminism from the past to today. The most problematic of which is the question of the authenticity of power and the establishment of subjectivity raised in the film by the contrast between the protagonist Starling and the villain Bill. Starling, with the help of Hannibal, acquires effective power through legal means, but fails to establish her own subjectivity outside of the male power discourse; Bill, while violently resisting power, also aspires to become powerful, but his power only stems from his own delusions and consequently kills many people, but he establishes an authentic subjectivity and a new rule independent of traditional patriarchal society.
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Zięba, Hubert. "Rasa, płeć, choroba. Sposoby reprezentowania czarnych kobiet w kontekście epidemii AIDS w Stanach Zjednoczonych." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 97–118. http://dx.doi.org/10.19195/0860-6668.21.4.6.
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Race, sex, disease. Modes of representing black women in the context of the AIDS epidemic in the United StatesIn this article I try to outline the ways of representing black women in the context of the AIDS epidemic in the United States. The point of departure for prospecting for such images is the development of the feminist thought and women cinema practices, described by E. Ann Kaplan and Alexandra Juhasz, which diverge from a unified category of women towards a multicultural aspect of femininity. In the face of rendering HIV/AIDS dominantly from a white male perspective in the most popular motion pictures about the disease, I begin with Georges Didi-Huberman assumption, according to which, under a layer of popular images of disasters, there are always different depictions yet to be discovered. Referring to the concept of minoritarian strategies, formulated by Gilles Deleuze and Felix Guattari, I attempt to make a formal and stylistic analysis of four films, two documentaries and two features. Simultaneously I try to demonstrate that actions taken by women involved in different levels of film production cross the traditional opposition between the mainstream and independent cinemas. The films analyzed in this article are: Sandra’s Web: A Mother’s Diary 1996, dir. Beverly Peterson, Wilhemina’s War 2015, dir. June Cross, Life Support 2007, dir. Nelson George, and Precious 2009, dir. Lee Daniels.
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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 1 (2017): 73–79. http://dx.doi.org/10.1525/fq.2017.71.1.73.
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By happy coincidence, Mexico in 2016 yielded two expert and moving documentaries on women, sex, and aging: María José Cuevas's Bellas de noche (Beauties of the Night) and Maya Goded's Plaza de la Soledad (Solitude Square). Both are first-time features by female directors. And both are attempts to reclaim previously neglected subjects: showgirls of the 1970s and sex workers in their seventies, respectively. Moreover, lengthy production processes in which the filmmakers cohabitated with their subjects have resulted in films that are clearly love letters to their protagonists. Widely shown at festivals and beyond, Bellas de noche won best documentary at Morelia, Mexico's key festival for the genre, and was picked up by Netflix in the United States and other territories. Plaza de la Soledad, meanwhile, earned plaudits at Sundance and a theatrical release in its home country in May 2017, a rare opportunity for a documentary. Complex and contradictory, these twin films celebrate women whose lives may be limited by circumstances cruelly beyond their control but who are vital, still, in their quest for friendship and freedom.
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Belov, S., and A. Zhidchenko. "The image of the phantom threat to children by the United States in Soviet historical cinema of the cold war period." Journal of Political Research 4, no. 1 (March 27, 2020): 25–37. http://dx.doi.org/10.12737/2587-6295-2020-25-37.
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The presented study is devoted to studying the practice of constructing the image of a phantom threat to children from the side of an external enemy through historical discourse in the cinema of the USSR and the USA during the Cold War. The aim of this work is to identify common and specific features in the approaches of filmmakers of the two countries to the formation of the image of a phantom threat for children from the side of an external enemy. The research methodology is built on the basis of a combination of historical genetic, comparative and descriptive, as well as content analysis. The author comes to the conclusion that in American films the historical texture in the framework of creating the image of the “Soviet threat” was used only occasionally. For the most part, the relevant plots were included in the cinematic description of actual military conflicts (for example, the war in Afghanistan), the futurological conflict of America and the USSR, or their confrontation in line with an alternative history. Soviet filmmakers were limited in terms of positioning the "American threat" by a series of unspoken rules. For example, the violent behavior of American characters toward children was described primarily verbally. Filmmakers from the United States had more freedom in terms of visualizing violence against children and adolescents. In addition, Americans could more freely and widely disclose the topic of “crimes” attributed to the Soviet side in the context of actual military conflicts. The presence of the indicated restrictions forced Soviet filmmakers to actively turn to historical subjects. However, the specifics of the origin of the basis of the corresponding narrative, which was played by foreign fiction, largely leveled its effectiveness from a political point of view. The literary sources of Soviet films were originally created by American writers for US citizens, whereby their content was saturated with positive images of America and its inhabitants. The latter often concerned the positioning of childhood, especially in a nostalgic manner. A natural consequence of this was the erosion of the negative images promoted by filmmakers. The theoretical significance of the work lies in summarizing the image of the phantom threat to children by the United States in Soviet historical cinema of the cold war period.
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Toth, Leah. "“Beautiful, If You See It the Right Way”." Resonance 2, no. 1 (2021): 52–65. http://dx.doi.org/10.1525/res.2021.2.1.52.
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David Lynch’s first feature film, Eraserhead, is considered by many to be his strangest, due to its dark industrial imagery and dissonant sound design. This essay examines the function of audible noise in Eraserhead within the context of 1970s deindustrialization and argues that noise is a key but overlooked element of the film’s overall aesthetic design—an homage to the sounds and imagery of a fading and faded industrialized United States. Listening closely firmly establishes this impression: The sound design contributes substantially to the film’s synchretic surrealism, and its ambiguity through multilayered mechanical sound highlights listeners’ interpretive practices, particularly in comparison to most films’ use of a soundtrack to dictate rather narrowly an audience’s emotional response. Gaps between what audiences hear and what they see in Eraserhead create a void strongly suggestive of loss and longing—an impression Lynch, though often reticent about his work, has indicated in many interviews over the decades. Though many studies address the fact of the film’s innovative sound design, few examine it closely in relation to its narrative and visual elements within any sort of historical context or within Lynch’s deeply idiosyncratic aesthetic sensibility. In so doing, this essay not only highlights Lynch’s remarkably consistent aesthetic but also stresses why and how Eraserhead’s sound design is an outlier, opening up, as it does, the expressive possibilities in an unconventionally noisy soundtrack.
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Montgomery, Denise. "Meeting the Needs of Young People During the COVID-19 Pandemic Through Program Adaptations in Creative Youth Development Programs." IJREE – International Journal for Research on Extended Education 10, no. 2 (October 25, 2023): 54–72. http://dx.doi.org/10.3224/ijree.v10i2.05.
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Creative Youth Development (CYD) is a holistic approach to engaging young people through the arts and creativity to support them in thriving in all aspects of their lives. Young people consistently rank culminating events – performances, exhibitions, youth summits, screenings of their films – as a powerful motivator and key aspect of their involvement in creative youth development programs. This article features insights from a qualitative research study in the United States that explored how CYD programs adapted culminating events to the largely virtual program environments of 2020. Findings include challenges organizations faced in 2020; strategies for adapting culminating events during the COVID-19 pandemic, ranging from centering core principles of youth leadership and prioritizing connection with young people to creative strategies for engaging youth, including positioning new event formats as opportunities for youth to co-create entirely new experiences and events; and implications for the youth development field.
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Qiao, Zixin. "The 1949 Version of Little Women wears more Feminism Features than the 2019 One." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1127–40. http://dx.doi.org/10.54254/2753-7064/3/2022959.
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This paper will begin with a discussion of the historical context of the two film adaptations of Little Women and the novel of the same name, as well as their distinct intersections with various phases of feminism's development. Specifically, the Civil War and the suffrage movement supported as the history background for the novel penned by Louisa May. Then, the production history of Mervyn LeRoy's 1949 picture Little Women, which was produced in America soon after the end of World War II and the beginning of the first wave of feminism, will be discussed. Further, the background of the 2019 edition is the condition of the United States in the twenty-first century and the third wave of feminism with the Me Too Movement. Then, analyze at least five scenes from each film in terms of lens language, characters (particularly the two leading characters Amy and Jo in both films), etc to illustrate the thesis of this paper: the 1949 version of Little Women is more feminist than the 2019 adaptation. It is vital to emphasize that the defining characteristic of feminism is a woman's unwavering commitment to her own beliefs and decisions.
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Rutten, Andrew. "UNITED STATES AND CANADA An Empire Divided: The American Revolution and the British Caribbean. By Andrew Jackson O'Shaughnessy. Philadelphia: University of Pennsylvania Press, 2000. Pp. xviii, 357. $55.00, cloth; $22.50, paper." Journal of Economic History 61, no. 4 (December 2001): 1132–33. http://dx.doi.org/10.1017/s0022050701005721.
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In the last half-century, historians have reached a consensus about much of the history of British America during the eighteenth century. One feature of that consensus, argued by Jack Greene, John Philip Reid, and Stanley Engerman among others, is that the economic, legal, political, and social history of the colonies can only be understood in the context of their membership in an Atlantic community. Even the event that destroyed that community—the American Revolution—is now seen as a controversy over an Atlantic constitution. In this book, Andrew Jackson O'Shaughnessy fills a major lacuna in this approach, by asking why the Caribbean colonists did not join the revolution.
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Agapov, M. G. "“Screen on the Chum”: Social Reconstruction and Mobile Film Propaganda in the North of the Ob region in the 1930s." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(61) (June 15, 2023): 190–98. http://dx.doi.org/10.20874/2071-0437-2023-61-2-16.
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Drawing on the example of agitation and propaganda campaigns carried out in the north of the Ob region in the 1930s among the indigenous population, a specific tool of the Soviet ideological indoctrination of the Great Break period — a mobile cinema (installations designed to screen silent and sound films to a small audience in open areas and in premises not equipped with stationary film projectors) — has been comprehensively studied. The mobile cinema is considered as one of the varieties of cultural management technologies that are equally characteristic of all states and empires of the modern era, including the USSR, where, due to the existence of state ideology and low literacy of the population, it was even more important than other cultural technologies. The management supported and strengthened the centralized power, serving as a complement to force and coercion. Based on the materials of the State Archive of the Socio-Political History of the Tyumen Region, it has been es-tablished that the first mobile cinema in the north of the Ob region was created under the auspices of the Commit-tee of the North under the All-Russian Central Executive Committee of the USSR, but it reached its fullest flou-rishing in the area during the period when the region came under the jurisdiction of the Chief Directorate of the Northern Sea Route (1935–1938). The repertoire of a mobile cinema was compiled centrally, and it included popular science and feature films, united by a common goal, which was the ideological indoctrination of the audi-ence. For representatives of the indigenous peoples of the North, movie screening itself was the most important experience of joining a new life, akin to the rite of initiation. Indigenous peoples were most interested in movies that narrated about their own daily life: hunting, fishing, travelling. Mobile cinemas were moved around the north by sled and specially equipped boats. The work of a mobile cinema in the north of the Ob region was associated with constant overcoming of a number of problems: the shortage of films, frequent breakdowns of movie cameras, and the lack of qualified projectionists. Nevertheless, mobile cinemas made significant contribution to the mo-dernization of everyday life and worldview of the indigenous peoples of the Ob North.
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Stasch, Rupert. "The Camera and the House: The Semiotics of New Guinea “Treehouses” in Global Visual Culture." Comparative Studies in Society and History 53, no. 1 (January 2011): 75–112. http://dx.doi.org/10.1017/s0010417510000630.
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One of the most frequently encountered representations of West Papuan people internationally today is a photographic or video image of a Korowai or Kombai treehouse (Figure 1). Circulation of these images first exploded in the mid-1990s. In 1994, anArts & Entertainment Channelfilm about Korowai was broadcast in the United States under the titleTreehouse People: Cannibal Justice, and in 1996National Geographicpublished a photo essay titled “Irian Jaya's People of the Trees.” Korowai and Kombai treehouses have since been depicted in dozens of magazine and newspaper articles and twenty television productions, made by media professionals from the United States, United Kingdom, France, Germany, Austria, Sweden, Finland, Japan, Australia, Switzerland, Italy, Croatia, Slovakia, the Czech Republic, Vietnam, and recently West Papua itself. Some representations have had mass global distribution through programming partnerships and satellite transmission agreements, and international editions of major magazines. Recently, several reality television programs have been produced about white travelers' stays in treehouses with Korowai or Kombai hosts. These include an episode ofTribebroadcast on BBC and Discovery in 2005, the six episodes ofLiving with the Kombai Tribeshown on Travel Channel and Discovery International in 2007, and an episode ofRendez-Vous En Terre Inconnuetelevised to much acclaim on France 2 in 2009. Treehouses were widely seen by Australian audiences in 2006 in theSixty Minutessegment “The Last Cannibals,” and during a subsequent media firestorm that surrounded a rival show's unsuccessful effort to film their anchor accompanying a supposedly endangered Korowai orphan boy to a safer life in town. In 2009, a BBC film crew filmed Korowai house construction for the forthcoming blockbuster seriesHuman Planet, and in 2010National Geographicbegan researching a possible second story on Korowai treehouses. In late June and early July 2010, photos of Korowai treehouses were published by newspapers in Indonesia, Singapore, Malaysia, Vietnam, Paraguay, Spain, Romania, Hungary, Turkey, Finland, Germany, France, the United Kingdom, and other countries, to illustrate stories reporting the Indonesian census bureau's announcement that it had counted Korowai thoroughly for the first time (e.g., Andrade 2010; most stories drew their content from Agence France-Presse). In August 2010, production began for a feature-length Indonesian film about physical and romantic travails of Javanese protagonists who sojourn with Korowai in their jungle home; no filming is being carried out in the Korowai area or with Korowai actors, but treehouses figure prominently in the film's early written and visual publicity.
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Mohammed, Abdullah. "African video films: Stereotypes and narrative crumple in the quest for transnationality in Dar 2 Lagos." Umma: The Journal of Contemporary Literature and Creative Art 8, no. 1 (December 2021): 55–67. http://dx.doi.org/10.56279/ummaj.v8i1.4.
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This article takes a close-up look at Dar 2 Lagos, a film by Femi Ogedegbe, focusing on how the film attempts to feature transnational elements in filming across Africa. The film which demonstrates a new trend in filmmaking practices in Africa introduces possible multinational collaborations which are likely to offer opportunities for talents and producers to team-up and utilize not only talents and stories but also beautiful locations around the continent. However, such opportunities for the industry to cater for the demand of the audience with stories that people across the continent share and relate to is haunted by the film’s stereotypical representation of women. While I read Dar 2 Lagos as the industry’s effort to unite the two emerging film industries in Africa, Nigeria’s Nollywood and Tanzania’s Bongo Movies, I also highlight the way the film segregates women in the union process. I use a textual analysis to argue that although the current film practice in Africa attempts to ease border crossing, Dar 2 Lagos permits only male stories, ideas, narratives, talents and bodies to unrestrictedly move between African nation-states and beyond. The film’s narrative denies free movement of the female bodies and their passions. This stereotypical practice of the medium perpetuates the past cultural practices and therefore jeopardises a clear envisioning of the future of film production in Africa.
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Kreer, Mikhail, Tatiana Skazochkina, and Aleksandr Skazochkin. "Methodological Map as a New Element of the Diagnostic System of Personnel Training for Modern Economy." Science Management: Theory and Practice 3, no. 3 (September 28, 2021): 45–60. http://dx.doi.org/10.19181/smtp.2021.3.3.2.
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The article is devoted to the analysis of the possibilities and the description of the methodological map, which is the Russian analogue of the “individual cell” of the student and has proven itself well in the United States. The methodological map reflects the static profile of the trainee’s abilities and, when periodically filled in, represents a dynamically developing trajectory of a professional orientation, regardless of the profile.At present, the general need of the economy for high-quality specialists based on the selection of students capable of mastering complex, high-tech technologies that have a clear potential for professional growth and personal development. At the same time, we can state the absence of a developed relationship between the education system and the vocational guidance system, which strategically can lead to problems in providing the most technologically advanced segments of the economy with professional staff. At the same time, thereis a positive international experience in solving this problem, the elements of which can be adapted to the existing Russian system.The article presents the content and describes the capabilities of the methodological map developed by the staff of the M.V. Lomonosov, and is an analogue of the “individual cell” developed in the United States. The methodological map is information about the level of several types of competence of any student. To work with such a card, the teacher needs to expand his competence and become an expert testologist with a sufficient level of test competence. An obvious advantage of the methodological map is the ease of its digital processing, the accumulation of information about the student in centralized databases. The methodological map, after appropriate modernization, can be the basic option for training highly qualified specialists who have chosen the path of a scientist. The development of such a diagnostic system has significant positive features, the most obvious of which is the ability to ensure the connection between the content of education and the personnel needs of society and the state, and, as a result, to ensure their sustainable socio-economic development.
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Putcha, Rumya S. "The Mythical Courtesan." Meridians 20, no. 1 (April 1, 2021): 127–50. http://dx.doi.org/10.1215/15366936-8913140.
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Abstract This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide a counterpoint against which a modern and national Brahmanical womanhood could be articulated. The author brings together a constellation of events that participated in the construction of Indian womanhood, especially the rise of sound film against the backdrop of growing anticolonial and nationalist sentiments in early twentieth-century South India. The author focuses on films that featured an early twentieth-century dancer-singer-actress, Sundaramma. In following her career through Telugu film and connecting it to broader conversations about Indian womanhood in the 1930s and 1940s, the author traces the contours of an affective triangle between three mutually constituting emotional points: pleasure, shame, and disgust.
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Leung, Kevin. "(Digital Presentation) Pinpointing the Potential-of-Zero-Charge in a Alumina-Coated Aluminum/Water Interface Model for Corrosion Applications." ECS Meeting Abstracts MA2022-01, no. 16 (July 7, 2022): 991. http://dx.doi.org/10.1149/ma2022-0116991mtgabs.
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The surfaces of most metals immersed in electrolytes feature a several nanometer-thick oxide/hydroxide layer in aqueous electrolytes. This leads to the existence of both a metal/oxide and an oxide/liquid electrotlyte interface. The resulting complexity, and the uncertainty about the structure of and the charges on the surface films, make it challenging to predict from first principles the potential-of-zero-charge (PZC) which has been correlated to the pitting potential [1]. In this work, we use large-scale Density Functional Theory and ab initio molecular dynamics to calculate the PZC of a Al(111)|gamma-Al(2)O(3)|water model within the context of aluminum corrosion. By partitioning the multiple, complex interfaces involved into binary components with additive contributions to the overall work function and voltage, we calculate the PZC in liquid water for this model. Simultaneously, we calculate the orbital energy levels of defects like oxygen vacancies in gamma-Al(2)O(3), which are critical parameters in theories associated with pitting corrosion onset. Our predictions align the Fermi level at PZC with oxygen vacancy impurity defect levels, and estimate the voltage needed to generate charged oxygen vacancies in the flat band approximation. The similarities and differences in results and assumptions used between our model calculations and experiments will be discussed. [1] J.~O'M. Bockris and Y.~Kang, J. Solid Electrochem. 1:17 (1997). Sandia National Laboratories is a multi-mission laboratory managed and operated by National Technology and Engineering Solutions of Sandia, LLC, a wholly owned subsidiary of Honeywell International, Inc., for the U.S. Department of Energy’s National Nuclear Security Administration under contract DE-NA0003525. This paper describes objective technical results and analysis. Any subjective views or opinions that might be expressed in the document do not necessarily represent the views of the U.S. Department of Energy or the United States Government. Figure 1
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Sputnitskaya, N. Yu, and M. F. Kazyuchits. "Contemporary Approaches to the Study of Soviet and Post-Soviet Screen Culture. Based on the Material of 53rd ASEEES Congress, USA." Art & Culture Studies, no. 2 (June 2022): 106–37. http://dx.doi.org/10.51678/2226-0072-2022-2-106-137.
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The article is devoted to the study of the works of researchers from the USA, based on the material of the 53rd Association for Slavic, East European, and Eurasian Studies (ASEEES) International Annual Congress, which belong to various branches of humanitarian knowledge, but directly related to the study of Soviet and modern screen culture in Russia or other countries (Eastern Europe, India, Cuba, etc.) that have experienced its direct or indirect influence. The interest in the research of American representatives of the humanities, whose share in the total number of participants in congresses is very significant, is due to the fact that for decades, full of dramatic trials, to which the cultural ties of the USSR/ Russia and the USA were subjected, the screen cultures of both countries mutually aroused close interest, although its background could be different. Numerous representatives of various branches of the humanities in the USA pay great attention to screen culture per se or as a source of valuable information about other segments of culture, society, politics, history, etc., especially to segments of feature and documentary films, animation, newsreels, television programs of various formats (TV series, information programs, journalistic programs, especially investigative journalism, etc.) and new media (social networks, especially YouTube, streaming). The article concludes with the conclusions obtained, including: the increased interest of the American scientific community in the study of the mechanisms of formation and reproduction of ideology, power in the history of the USSR/Russia; cardinal points of contrast between the social, political, and cultural agendas of modern Russia and the United States (and other foreign countries); search and analysis of crisis phenomena in society, culture, and politics of the USSR/Russia, reflected in the phenomena of screen culture.
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Tay, Kenneth. "A well-oiled engine: Towards a critical petro-aesthetics of Singapore." Journal of Environmental Media 4, no. 1 (April 1, 2023): 9–25. http://dx.doi.org/10.1386/jem_00094_1.
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While Singapore is not an oil-producing nation, it occupies an important role as one of the largest refinery hubs and the world’s busiest bunkering port for tankers and container ships. However, existing scholarship on petroculture has largely bypassed Singapore in its focus on direct representations of oil centred on upstream producers such as the United States, Canada and countries in the Middle East. This article traces the emergence and eventual disappearance of oil in Singapore’s visual culture through two moving images made separately in the late 1950s and the early 2000s. Comparing L. Krishnan’s film Orang Minyak (), which headlined a series of local films that featured the urban legend of the orang minyak (‘oily man’), with Tan Pin Pin’s documentary video 80km/h () allows us to consider the sudden eruption and eventual disappearance of oil in Singapore’s visual culture, set against the historical developments of Singapore’s oil industry. Of interest here is an attention towards both direct and indirect representations of oil. The article ends with a formal analysis of Tan’s 80km/h, through which I argue for a critical petro-aesthetics particular to Singapore itself, in thinking through its role as an important middleman in the global supply chain of petroleum and petrochemicals.
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Petterson, Aino, and Robbie M. Sutton. "Sexist Ideology and Endorsement of Men’s Control Over Women’s Decisions in Reproductive Health." Psychology of Women Quarterly 42, no. 2 (December 15, 2017): 235–47. http://dx.doi.org/10.1177/0361684317744531.
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Feminist scholars have argued that men’s control over women’s reproductive autonomy is a central feature of male dominance. Building on recent research that shows sexist ideology informs support for restricting women’s reproductive autonomy, we examined the relation of sexism and the belief that men should be able to restrict the behavior of women. Study 1 ( N = 366 undergraduate psychology students in the United Kingdom) and Study 2 ( N = 281 Amazon Mechanical Turk workers in the United States) showed that controlling for various demographics and ideological measures (e.g., right-wing authoritarianism, support for abortion rights), hostile sexism was related to support for men having the right to prevent their pregnant partner from having an abortion. Further, hostile sexism was related to the endorsement of men’s right to withdraw financial support for the child if a woman chooses not to terminate her pregnancy. Hostile sexism was also uniquely related to support for men’s right to veto their female partner’s decisions during pregnancy and childbirth. The present studies show that hostile sexism is associated with perceptions that men have the right to constrain women’s reproductive choices. Our findings highlight the adverse pressures on women’s reproductive autonomy, including sexist ideology, and may suggest that practitioners should be mindful of this when assisting women in discussing reproductive questions. Further, by creating awareness about the different factors that shape the perception of men’s role in reproductive decisions, sexual health educators could potentially help affirm women’s autonomy in reproductive health. Additional online materials for this article (measures used in this study) are available on PWQ’s website at http://journals.sagepub.com/doi/suppl/10.1177/0361684317744531 . Data files, together with syntax detailing the statistical analyses, are available at https://osf.io/vwjus/ . Online slides for instructors who want to use this article for teaching are available on PWQ's website at http://journals.sagepub.com/page/pwq/suppl/index
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Xue, Mengjie. "The Transmission Effect of Costume Dramas on International Social Media." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 82–85. http://dx.doi.org/10.54097/ehss.v1i.642.
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C-dramas are launched on YouTube platform, and the update speed overseas is the same as that at home. Overseas audiences can understand costume dramas through language symbols, star symbols, and they love costume dramas more than modern dramas. They have the ability to share joys and sorrows with film and television characters. The viewing of costume dramas leads to Chinese fever and star chasing behavior. In order to better spread costume drama, it can create contact opportunities for overseas audiences within the acceptable range of culture, reduce the cultural inaccuracy part of costume drama, provide background knowledge and provide quality dramas. Film and television works are an important way to tell Chinese stories. Story-based communication makes overseas audiences willing to learn about Chinese culture and history through film and television works. Swordsmen film is a folk hero myth in the Chinese world, similar to western cowboy in the United States and Bushido in Japan. Swordsmen films is the most complete in China film, and the most national characteristics of film type.In terms of TV dramas, costume dramas are rooted in traditional Chinese culture, displaying rich Chinese elements and carrying cultural symbols such as Chinese history, mythology, classical Musical Instruments, traditional costumes, architecture and Chinese food. They are unique types of dramas attracting overseas audiences with distinctive national characteristics.With the open, convenient, timely and effective features of the Internet, Chinese films and TV series have been released on overseas network platforms such as Netflix and YouTube, changing from passive communication to active communication. On YouTube, film and television organizations with copyright have opened channels to upload Chinese films and TV works.This study takes Tencent Video as the research object to analyze what efforts the online video platform has made for the spread of costume dramas? What are the comments of international audiences? How to improve the overseas communication effect of costume dramas?
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Pilcher, Lauren. "Racial Ideology in Government Films: The Past and Present of the US Information Service’s Men of the Forest (1952)." Genealogy 6, no. 2 (May 7, 2022): 41. http://dx.doi.org/10.3390/genealogy6020041.
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Movies beyond the scope of Hollywood and entertainment have shaped notions of race in American culture since the early decades of cinema. A range of nontheatrical sponsors and creators in the US made films to serve practical functions in society—to inform, to organize, to persuade, to promote, etc. The US federal government was a major sponsor of many of these films, which provided American and foreign audiences depictions of race that differed considerably from popular commercial images. For example, Men of the Forest, a film made in 1952 by the United States Information Service focuses on the Hunters, a Black family who owns land and a forestry business in rural Georgia. A documentary of sorts, the film highlights Black life, work, and land ownership in the South in ways not seen in popular feature films of the day. Yet, in the film and others like it, histories of institutional racism are woven into cinematic form and content in ways that are distinct from the entertainment industry. The creators of Men of the Forest omit details of segregation in the South to emphasize the Hunter family as examples of American democracy, a choice suited to the film’s Cold War purpose: to counter the anti-American message of Soviet propaganda for foreign audiences. On one hand, by producing and distributing the film, the federal government acknowledged Black farmers and landowners in the Jim Crow South. On the other hand, it avoided the structural inequality surrounding the Hunters to frame their reality as an example of American democratic progress for international circulation. Today, government films like Men of the Forest prompt contemporary reflection on the institutional histories they represent and their evolution into the present. The film and many others are available online due to the digitization of collections from the National Archives, Library of Congress, and elsewhere. With this increase in access, contemporary scholars have the ability to investigate how the federal government and its various internal entities mediated racial ideologies with moving image technologies. As an example of such research, this essay examines Men of the Forest by focusing on the past and present contradictions that arise from its depiction of a Black family with land and an agricultural business in rural Georgia. Two recent events shed light on the histories reflected in the film and their contemporary significance. In 2018, Descendants of Men of the Forest, The Legacy Continues—a documentary created by family members of the film’s original participants—contextualized the original production as evidence of the Hunter family’s legacy in the community of Guyton, Georgia. Underlying this local effort, Men of the Forest serves as an important historical event and record of the family and the community. On a broader scale, in March 2021, Congress passed a large relief package for disadvantaged minority farmers, intended to help alleviate decades of systemic racism in government agricultural programs. Lawsuits from white farmers and conservative organizations followed quickly, challenging the provision of government aid based on race. In this federal context, Men of the Forest exposes an institutional image of individual success that downplays the structural racism facing people of color, especially those with agricultural livelihoods. Even as politics and legislation evolve, this vision of democracy once exported by the federal government has widespread currency and accumulating effects. The connections between Men of the Forest and these recent events reveal the racial politics at play in government films and the ways in which they take shape in the real world beyond the screen.
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Voges, Jonathan. "Medien zum Selbermachen Der Baumarkt als Ort des medialisierten Einkaufs seit den 1970er Jahren." Zeitschrift für Unternehmensgeschichte 66, no. 1 (March 1, 2021): 51–67. http://dx.doi.org/10.1515/zug-2020-0026.
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Abstract Starting in the late 1960s and even more pronounced in the 70s, West-Germany saw an increasing number of hardware stores being founded. Since the idea behind the integrated Do-it-yourself-retail-store originated in the United States, it had to be adapted to suit Western-German circumstances. The problem that hardware-store owners faced right from the beginning, was, that the articles in their stores did not represent finished consumer goods, but rather goods that were meant to be turned into such by being used by the customer. Furthermore, until late in the 70s the products on offer were unfamiliar and in need of explanation to the German customers and therefore consulting intensive. In order to reduce the need for customer advisory, but still offer an attractive shopping experience and moreover to make clear, that the store offers not only products, but solutions to a range of different problems, the store owners, their franchise centers and their trade-association focused their efforts on the use of new technologies. It was the video technology that developed a leading role in this effort: By using this technology, stores were able to combine the offer of entertaining media, explanations to the usage of their products in action (which in turn reduced the need for customer advisory) and illustrations of the features of the DIY-products on offer. Starting in the mid-70s, this led to the production of films, which were shown on infinite loop in the hardware-stores.
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Kolmogorova, Anastasia V. "Texts of “internet confessions” as a source for training data set for the research on the sentiment-analysis field." NSU Vestnik. Series: Linguistics and Intercultural Communication 17, no. 3 (2019): 71–82. http://dx.doi.org/10.25205/1818-7935-2019-17-3-71-82.
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The article aims to analyze the validity of Internet confession texts used as a source of training data set for designing computer classifier of Internet texts in Russian according to their emotional tonality. Thus, the classifier, backed by Lövheim’s emotional cube model, is expected to detect eight classes of emotions represented in the text or to assign the text to the emotionally neutral class. The first and one of the most important stages of the classifier creation is the training data set selection. The training data set in Machine Learning is the actual dataset used to train the model for performing various actions. The internet text genres that are traditionally used in sentiment analysis to train two or three tonalities classifiers are twits, films and market reviews, blogs and financial reports. The novelty of our project consists in designing multiclass classifier that requires a new non-trivial training data. As such, we have chosen the texts from public group Overheard in Russian social network VKontakte. As all texts show similarities, we united them under the genre name “Internet confession”. To feature the genre, we applied the method of narrative semiotics describing six positions forming the deep narrative structure of “Internet confession”: Addresser – a person aware of her/his separateness from the society; Addressee – society / public opinion; Subject – a narrator describing his / her emotional state; Object – the person’s self-image; Helper – the person’s frankness; Adversary – the person’s shame. The above mentioned genre features determine its primary advantage – a qualitative one – to be especially focused on the emotionality while more traditional sources of textual data are based on such categories as expressivity (twits) or axiological estimations (all sorts of reviews). The structural analysis of texts under discussion has also demonstrated several advantages due to the technological basis of the Overheard project: the text hashtagging prevents the researcher from submitting the whole collection to the crowdsourcing assessment; its size is optimal for assessment by experts; despite their hyperbolized emotionality, the texts of Internet confession genre share the stylistic features typical of different types of personal internet discourse. However, the narrative character of all Internet confession texts implies some restrictions in their use within sentiment analysis project.
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Dzidzoev, V. D. "SOVEREIGNTY AS A DISTINCTIVE FEATURE OF THE STATE." Law Нerald of Dagestan State University 35, no. 3 (2020): 19–24. http://dx.doi.org/10.21779/2224-0241-2020-35-3-19-24.
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The article is devoted to the problems of sovereignty and statehood. Much attention is paid to the teachings of the French lawyer and theologian Jean Bolin, who first introduced the concept of sovereignty. Other versions of the concept of sovereignty that were developed in the late middle ages in European countries, as well as the modern concept of sovereignty and statehood, are also considered. Specific examples of the geopolitical confrontation between the Russian Federation and the United States are given, which, in the author's opinion, contribute to the violation of generally accepted principles of international law and the Charter of the United Nations. The author focuses on the sovereignty of the young States of the South Caucasus, Abkhazia and South Ossetia, comparing their statehood and sovereignty with some UN-recognized States. For example, Bhutan, Burundi, Cameroon, etc. Some modern States, such as the Russian Federation, China, Turkey, and some others, are actually fighting for the full sovereignty of their States and are thus in conflict with the United States.