Journal articles on the topic 'Film and Media Culture'
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1
Bakulev, Gennady P. "Cinematic media in digital culture." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 8–14. http://dx.doi.org/10.17816/vgik1118-14.
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Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades.
Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments.
Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres.
By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity.
The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.
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Komalawati, Euis. "INDUSTRI FILM INDONESIA : MEMBANGUN KESELARASAN EKONOMI MEDIA FILM DAN KUALITAS KONTEN." LUGAS Jurnal Komunikasi 1, no. 1 (May 18, 2018): 1–18. http://dx.doi.org/10.31334/jl.v1i1.101.
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As an appreciation for creative works, the Indonesian Film Festival (FFI) and the Indonesian Film Appreciation (AFI) aimed at giving an award for the best work. The interesting part was the implementation of AFI 2015 emerged several award categories such as Appreciation for the Local Government and Film Criticism Appreciation. This occurred in the midst of concerns about the development of Indonesian film industries which tend to be stagnant. Film communities tried to give fresh ideas and break the film market. This new award can certainly be seen as an effort through the film festival program in spurring the film industries with creative work of educating the nation's children, especially film as a "cultural builder". Film is a cultural construction. In America, the country where the Hollywood film industry is the mecca of film generation, people still debate the cultural influence of Hollywood on social phenomena. Sociologist Norman Denzim said that drinking shows in US films have influenced the misleading romanticism of alcoholism in public consciousness (Vivian, 2008: 160). On the other hand, borrowing Adorno's term, the film has carried the culture industry powerless with market power. Discussing the media industry leads to the film media economy, as the focus of Indonesian filmmakers today. For most producers, award-winning films at international film festivals are "less meaningful" when they are not in box office positions. This paper proposed to reveal the economic attractiveness of the film media and the quality of Indonesian film content in accordance with the Republic of Indonesia Act. Number 33 of 2009 on Film. It stated that the film has a function: culture; education; entertainment; information; the driving force of creative work; and economy.
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Ljajić, Samir. "Media culture in modern society." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 19 (2020): 61–67. http://dx.doi.org/10.5937/univmis2019061l.
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The importance of media culture in contemporary society is extremely large because it shapes a modern man life, the creation of political attitudes and social behavior of individuals. The products of media culture, paintings, sounds and performances are increasingly organizing free time of a contemporary man, shaping his thinking and identity. Based on the content of radio, television, film, and new media technologies, a person creates an image of himself, his own potentials, values, success, as well as his own affiliation, a certain class, race, nationality, and thus media culture has a remarkable social significance. A number of relevant authors state that media culture shapes people's perceptions of the world, the value system, morality, good and evil. Worldwide, the contents of the media culture today constitute a general culture and are seen as the basis for new forms of global culture. A complex spectrum of actions that make media, primarily radio television, film, and media of modern technologies, creates the need for a more precise definition of the term media culture, bearing in mind its breadth and complexity. In this context, the main goal of this paper is to define the concept of media culture, in order to better understand all aspects, as well as the complexity of the whole that this term implies. Media culture is determined by the terms which provide an insight into a better understanding of this term, and in this paper they are given considerable attention. D. Kelner in the Media Culture section points to the following important determinants: a wide range of media resources that form an integral part of the media culture; performances created by the combination of picture and sound; creation of features and symbols of contemporary social life; media culture as a high technology culture (techno-culture); the relation between media culture and society; theory of media and cultures.
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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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Mickūnas, Algis. "Resistance to Western Popular and Pop-Culture in India." Coactivity: Philosophy, Communication 25, no. 1 (March 27, 2017): 48–62. http://dx.doi.org/10.3846/cpc.2017.268.
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The essay is designed to present the phenomena of popular culture, its difference from pop culture, both products of modern West, and their impact on film and advertisement media in India. First, the discussion focuses on the Critical School which proposed the initial thesis of commodification of culture with a resultant “lowering” of standards to appeal to “the masses”, and an appeal to the “average” tastes. In the essay an argument is presented that pop culture is a “critique” of popular culture and is an elitist position attempting to shock popular mores and media content. Given this setting, it is argued that while India has followed both the globalizing popular and pop cultures, neither are adequate to encompass Indian media, specifically their film content.
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Saglier, Viviane. "Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation." Review of Middle East Studies 54, no. 2 (December 2020): 328–35. http://dx.doi.org/10.1017/rms.2021.7.
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What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series at Palgrave Macmillan (edited by Nezar Andary and Samirah Alkassim). Waleed Mahdi's Arab Americans in Film (2020) and Peter Limbrick's Arab Modernism as World Cinema: The Films of Moumen Smihi (2020) consolidate these exchanges across ethnic studies, area studies, political sciences, (art) history, and film and media studies. While Mahdi primarily positions himself from within ethnic studies and Limbrick is first a film scholar, both have published in reference journals in film studies, Middle East studies, and cultural studies.
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Hyde-Clarke, N. "“Beyond stereotypes”: representations of a foreign culture in film students’ productions." Literator 29, no. 2 (July 25, 2008): 149–68. http://dx.doi.org/10.4102/lit.v29i2.120.
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Growing concerns about the continued use of cultural stereotypes in media production, and the subsequent decrease in diversity, resulted in the launch of a student film production programme between three tertiary institutions in South Africa and Finland during the first half of 2006. The aim of the programme was to encourage students to produce films about a foreign culture that moved “beyond stereotypes” and reflected a greater understanding of that society. This article examines the production process, participants’ experience and analyses the final products that were produced in the nine weeks the students spent in Helsinki, Finland. To what extent can media productions, such as film, be devoid of stereotypes?
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Smirnov, Aleksei, and Olga Vladimirovna Bezzubova. ""School cinema" of the mid-1970s: "education of feelings" and love discourse (on the example of the film "One Hundred Days after childhood")." Культура и искусство, no. 11 (November 2022): 54–67. http://dx.doi.org/10.7256/2454-0625.2022.11.36792.
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The object of the study is the movie "One Hundred Days after Childhood", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called "school cinema"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s ("thaw era"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet "school cinema" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.
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Dinihari, Yulian, Zuriyati Zuriyati, and Ninuk Lustyantie. "Javanese Cultural Values of the Yogyakarta Palace in the Film ‘Marak: Mresani Panji Sekar’." Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 5, no. 2 (December 30, 2021): 178–87. http://dx.doi.org/10.30998/jh.v5i2.776.
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Film is one of the effective and popular media in cultural learning, both local and foreign cultures. The film that is used as the object of research by the researcher is the film 'Marak: Mresani Panji Sekar'”. This film becomes an interesting study material because it explains the Javanese culture of the courtiers of the Yogyakarta Palace who will focus more on culture in the film. This research uses descriptive qualitative research method. Analyzing cultural values by means of observation and study of documents in films in an effort to gain an overview and understanding of what is being studied. The values obtained are in the form of many values contained in it, namely the values of honor, trust, politeness, responsibility, and art. Describe the Javanese values of the Yogyakarta Palace which are shown in the film 'Marak: Mresani Panji Sekar' and reveal and understand the meaning contained in these traditional values.Keywords: Film, Values, Javanese Cultural
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Hereyah, Yoyoh. "Media Massa: Pencipta Industri Budaya Pencerahan yang Menipu Massa Studi Simulacra dan Hiperrealitas Film AVATAR." Jurnal ULTIMA Comm 3, no. 2 (December 1, 2011): 95–104. http://dx.doi.org/10.31937/ultimacomm.v3i2.204.
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Globalization affects virtually all aspects of the society, including cultural aspects. Culture can be defined as values embraced by society or perception held by citizens of various things. Globalization as a symptom of the range of the values and culture of particular overlooks the world (so that it becomes ‘world culture’) have been seen since long. The Film is a form of mass media that bring values, cultures and ideologi of his creator. The concept of cultivations of cultural values is embedded through the ideas, stories, characters, special effects and the distribution of a film. Avatar upholds the value and ideologi from its producers.
Keywords: film studies, globalization, hegemony, hyperreality, simulacra
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Oktafiyani, Elve. "Bride and Prejudice sebagai Film Transnasional dan Heritage." Buletin Al-Turas 20, no. 1 (January 29, 2020): 133–46. http://dx.doi.org/10.15408/bat.v20i1.3752.
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Abstrak Fokus penelitian ini adalah membuktikan film Bride and Prejudice sebagai film bergenre transnasional dan heritage. Melalui proses produksi serta naratif film, ditemukan ciri-ciri film transnasional dan heritage pada Bride and Prejudice. Genre tersebut menjadi alat yang digunakan Gurinder Chadha untuk memperkenalkan India pada penonton universal, serta menjadi media penetrasi budaya India ke dunia internasional.---Abstrack This research focuses on prooving the evidences from the Bride and Prejudice films categorized as transnational and herritage genre. Through the production proses as well as film narrative, both films having characteristics as transnational and herritage film. The genre becomes the instruments to use Gurinder Chada to introduce India to the universal viewers, and become the media to penetrating Indian culture into the world.
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Gurevich, Yury L., Margarita I. Teremova, Galina N. Bondarenko, Valerie F. Kargin, Sergey V. Khizhnyak, Aleksander S. Romanchenko, Jun Yang, and Yi Ling Song. "Polyethylene Destruction by the Mixed Culture of Microorganisms." Advanced Materials Research 356-360 (October 2011): 1693–98. http://dx.doi.org/10.4028/www.scientific.net/amr.356-360.1693.
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Polyethylene film destruction by mixed culture of microorganisms was studied. The initial culture was adapted for growth on the media with ion exchange resin. During cultivation of the microorganisms on the mineral media with a polyethylene as the only source of carbon and energy the increase of film roughness and decrease of amorphous fraction and crystal size was detected. Using atomic-force microscopy and scanning electron microscopy it was found the film reduce to the crystals of micron size and unilamellar crystal fragments. The film relief change and crystal size decrease was detected after contact with oil-oxidizing bacteria and after composting with plant residuals with redworm Eisenia foetida.
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Tortolini, David. "The Appropriation of Mythologies for Assimilation through Media." Perspectives on Global Development and Technology 18, no. 1-2 (January 18, 2019): 151–56. http://dx.doi.org/10.1163/15691497-12341510.
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Abstract With immigration one observes how immigrant communities actively contribute to the American cultural landscape by blending their traditions and cultural identities. This is commonly seen in music, television, and food cultures. Because of the urgency to maintain hegemony the same mediums are used to attack these groups. This is especially true when it comes to the aspect of mythologies in film and television. With a failure of American culture to acknowledge its mythological identity, dominant American culture whitewashes immigrant cultural identity to force assimilation.
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Surahman, Sigit, Meliana Pratiwi, and Annisarizki Annisarizki. "Cross Culture Generasi Milenial dalam Film “My Generation”." REKAM 15, no. 1 (September 26, 2019): 13–32. http://dx.doi.org/10.24821/rekam.v15i1.2576.
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This research aims to explore the signs that represent the millennial generation cross culture in the film My Generation (2017) by Upi Avianto. This film, shows the dynamics of life for generations of millennials in the era of technological development. Unlike teen films in general, this film dares to portray the reality of a teenager's life from the results of two years of director research through social media. So that the film portrays the cross-culture of the millennial generation with what is positive and negative. With Roland Barthes's semiotic analysis method and qualitative descriptive approach and constructivist paradigm. The theory used by researchers is the Representation theory of Stuart Hall. From this research shows the millennial cross culture is represented by various scenes that describe habits and characters that are different from the previous generation. Millennial generation's cross culture is shown in differences in social norms which do not care about politeness values, millennial generation stereotypes, differences in life perspectives that tend to be free or liberal, broader, open and courageous to show differences, and a strong and optimistic mindset.
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Herbert, Emilie. "Black British Women Filmmakers in the Digital Era: New Production Strategies and Re-Presentations of Black Womanhood." Open Cultural Studies 2, no. 1 (September 1, 2018): 191–202. http://dx.doi.org/10.1515/culture-2018-0018.
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Abstract The story of Black women in British mainstream cinema is certainly one of invisibility and misrepresentations, and Black women filmmakers have historically been placed at the margins of British film history. Up until the mid-1980s, there were no Black female directors in Britain. Pioneers like Maureen Blackwood, Martina Attille and Ngozi Onwurah have actively challenged stereotypical representations of Black womanhood, whilst asserting their presence in Black British cinema, often viewed as a male territory. In the 2010s, it seems that the British film industry remains mostly white and masculine. But the new millennium has brought a digital revolution that has enabled a new generation of Black women filmmakers to work within alternative circuits of production and distribution. New strategies of production have emerged through the use of online crowdfunding, social media and video-sharing websites. These shifts have opened new opportunities for Black women filmmakers who were until then often excluded from traditional means of exhibition and distribution. I will examine these strategies through the work of Moyin Saka, Jaha Browne and Cecile Emeke, whose films have primarily contributed to the re-presentation of Black womanhood in popular culture.
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Davis, Tricia. "Film Review: Generation M: Misogyny in Media and Culture." Teaching Sociology 38, no. 4 (October 2010): 398–99. http://dx.doi.org/10.1177/0092055x10380853.
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Zhang, Jiayi. "Mexican Retrogrades in the Wave of American Film Culture." BCP Education & Psychology 7 (November 7, 2022): 151–56. http://dx.doi.org/10.54691/bcpep.v7i.2628.
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As one of the most penetrating media, film is an important expression of national cultural soft power. From the beginning of the 20th century to the present, American film culture has swept the world, directly or indirectly dominating the global screen entertainment. Relying on its mature film industry, the United States has rapidly penetrated its culture and values to the world, affecting the cultural identities of other countries. (Under the long-term hegemony of "Hollywood" values, the Mexican film culture as its neighbor has been seriously affected. In Hollywood films, Mexico seems to be synonymous with "chaos", "poverty" and "violence". For Mexican filmmakers, how to keep the Mexican style in the film in the "encirclement and suppression" of American films is the first problem, and then the goal is to show the real Mexico to the world. In response to this situation, some Mexican filmmakers have successively tried a genre-based creative path, transplanting the Hollywood genre film model into the local narrative, in order to achieve a balance between commerciality and artistry. This is also the goal that a group of Mexican filmmakers of the new genre have always pursued. They reject the domineering "cultural fusion" of Hollywood, but take the initiative to choose the "wall" that crosses national borders, galloping into the global film industry with Mexican concepts and creativity. One of the worthiest of exploration is the Mexican director Alessandro Gonzalez Inarito, because he has lived in the United States for a long time, so he has witnessed the situation of Mexicans in the United States, in his film The two perspectives of the United States and Mexico have appeared many times, intuitively revealing Mexico in the eyes of Americans. And almost all the films he shoots contain Mexican elements, trying to break the world's stereotypes about Mexico through the perspective of Mexicans. In the past ten years, Mexican films have made good news on the international stage and become one of the most active countries in the film industry in the world. Therefore, through the study of Alessandro's films, it is necessary to break the Mexico established by the United States and to re-establish the understanding of Mexico and its films.
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Klaver, Elizabeth. "Spectatorial Theory in the Age of Media Culture." New Theatre Quarterly 11, no. 44 (November 1995): 309–21. http://dx.doi.org/10.1017/s0266464x00009295.
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The last few decades of the twentieth century have seen the rise of a significant and powerful media culture. We now live in an age in which those media forces associated with visual entertainment – film, theatre, and television – have come increasingly to circulate among and interact with each other. Given the consequently porous nature of media boundaries, how should viewership and its effect on subjectivity be theorized today? Does the concept of the ‘spectatorial gaze’, as developed by critics in film and extended to theatre and television, actually work, given the plurality of the media culture? Elizabeth Klaver argues in the following essay that the ‘ways of looking’ currently available to viewers break down the isolated gaze of mastery – with or without its sexual-political connotations – and offer instead the potential and sometimes the actuality of performative interaction. Elizabeth Klaver is Assistant Professor of English at Southern Illinois University at Carbondale. As part of her current work on the media culture, she has recently published in the field of television and contemporary drama, and has also published articles on Beckett and Ionesco.
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Wielde, Beth A., and David Schultz. "Wonks and Warriors: Depictions of Government Professionals in Popular Film." Public Voices 9, no. 2 (January 5, 2017): 61. http://dx.doi.org/10.22140/pv.217.
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The importance of studying public service portrayals in popular film lies in theimportance of popular culture itself. Popular culture defines generations, both creating and reflecting trends. It provides a window to worlds that may otherwise be a mystery. Popular film messages merge with other media and environmental factors to form a perceived reality for many (Kelly and Elliott 2000).This article examines the depiction of non-elected public servants in movies. It seeks to identify how these individuals are depicted in film and to determine if there are any specific stereotypes or patterns that emerge regarding how Hollywood describes nonelected government officials. It will do this by undertaking a content analysis of a small sample of recent government-themed feature films, ones that have entered into the popular culture mainstream since the late 1980s and early 1990s, as well as certain earlier films that have entrenched themselves into the popular culture vernacular.
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Aondofa, IKYER, Godwin, and TSEGBAH, Bernard Ianna. "THE LOGIC OF TIV FILM COMMUNICATION FOR SOCIOECONOMIC GROWTH AND DEVELOPMENT." Ahyu: A Journal of Language and Literature 1 (December 4, 2017): 92–101. http://dx.doi.org/10.56666/ahyu.v1i.104.
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There is a growing demand for there inforcement of minority rights against the empty rhetoric of patriotism and unity in diversity within the framework of the Nigerian nation state. It has become obvious that transnational encounters within Nigeria has created various forms of superiorities and dominance-cultural, democracy-wise, ethnic, media, communication, economic, political-and be-wigged to alienate and subvert minority rights, privileges and heritage thus creating complicated consequences which severally call for self assertion, even aggression and crisis. Communication, and particularly the film media, has been one of such centre and periphery monopolistic practices that appropriate a majority culture and number within the notion of Nigerian culture and democracy thereby broadening boundaries of majority cultures and numbers which often clash at some bitter point with minority cultures and numbers, values and visions. This paper examines the complicated network of cultural control and subjugation, mass entertainment and popular culture deploying majority culture as the national one with the consumerism status vested on the minorities as it forsake minority identities and culture and the socio-economic disadvantages there of using Nollywood, a majority cinema, as the basis of binary discourse. This paper calls for a new engagement, one that expressly asserts and appropriates minority rights to deploying film and multimedia for cultural, linguistic, artistic, economic, social and political growth and development. The paper finally calls for theoretical constructs that will accommodate minority rights and projections in communication, film and multimedia for sustainable development keywords: minority rights, majority rights, film, cultural control, Nigerian culture, democracy.
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Tasker, Yvonne. "Jill Craigie, Post-war British Film Culture and the British Film Academy." Journal of British Cinema and Television 18, no. 4 (October 2021): 404–22. http://dx.doi.org/10.3366/jbctv.2021.0587.
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This article seeks to locate the socialist feminist film-maker Jill Craigie in the British film culture of the post-war period. Long regarded in scholarly accounts as something of an outsider, a woman who was effectively shut out of the industry during the 1950s, this article seeks to position Craigie rather differently. While acknowledging the obstacles she undoubtedly faced, it details aspects of her achievements and her visibility in the British film culture of the immediate post-war period. Craigie's politically driven documentaries and realist film practice accorded with prevailing discourses of ‘quality’ and she acquired the status of what would today be termed a media personality who worked across film, radio, television and print media. Considering Craigie as a figure embedded in the British film establishment, this article gives particular emphasis to her role in the British Film Academy (BFA), arguing that the significance of this practitioner-led organisation has yet to be fully recognised in British film history. The argument draws on archives held at the British Academy of Film and Television Arts (BAFTA) to begin a discussion of how the BFA, and Craigie as the first woman to be elected to its Management Council, played its part in the development of British film culture.
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Herawati, Erni. "Pornografi dalam Balutan Film Bertema Horor Mistik di Indonesia." Humaniora 2, no. 2 (October 31, 2011): 1408. http://dx.doi.org/10.21512/humaniora.v2i2.3209.
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The film industry in Indonesia has been through ups and downs. As an industry, thus there are usual things the film creators done to take financial benefit from the film industry. Some researches show that messages brought by mass communication media is no more that political and economic efforts from media to get much more benefits. Therefore, it is acknowledged that Indonesian films lately put horror and mystic theme beneath in order to get closer with Indonesia culture as the consumers. However, it is issued when the mystic theme influenced along with pornography. Ethics development efforts and law enforcement must be the continuous material to discuss the problem solving.
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Männig, Maria. "The Tableau Vivant and Social Media Culture." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 132–55. http://dx.doi.org/10.2478/ausfm-2021-0009.
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Abstract The article aims to analyse the tableau vivant in social media culture by emphasizing its intermedial relation to technical visual media, particularly digital photography and film. By focusing on the living picture’s specific mimetic qualities, the study traces back the tableau vivant’s history in a media archaeological perspective primarily regarding photography. It explores the current revival of the tableau vivant within social media. The article examines living pictures and the aspect of self-staging, relevant to contemporary digital culture. The tableau vivant develops between two polarities: a primarily analytical approach that allows a profound exploration of a particular artwork and the performative aspects of self-staging.
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Veenstra, Aleit, Philippe Meers, and Daniël Biltereyst. "Exploring film genre preferences through taste cultures: A survey on contemporary film consumption amongst youth in Flanders (Belgium)." Communications 45, no. 2 (May 26, 2020): 240–51. http://dx.doi.org/10.1515/commun-2019-2032.
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AbstractThis article explores contemporary film genre preferences through an in-depth sociological analysis of taste cultures in film preferences amongst youth aged 16–18 in Flanders (the northern Dutch-speaking part of Belgium). Building on a representative sample of 1015 respondents we statistically analyze the assumption that contemporary media audiences demonstrate mobility and that they are eager to shape their media consumption in accordance with their personal preferences. This article examines whether societal structures that have been found to reflect media preferences remain in place, or whether these structures have eroded with the (supposed) increase in individual choice – an argument often voiced in the context of convergence culture. An analysis of the variables gender, educational level and ethnicity illustrates that societal structures are still reflected through film genre preferences amongst Flemish youth.
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Atkinson, Joshua D., Scott Chappuis, Gabriel Cruz, Shanna Gilkeson, Chelsea Kaunert, Yannick Kluch, and Martin Kimathi M. "Feminist Jedi and a politically correct empire: Popular culture and transformative bridges in alternative media content." Journal of Alternative & Community Media 2, no. 1 (April 1, 2017): 60–71. http://dx.doi.org/10.1386/joacm_00032_1.
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This article explores the role of writing about popular culture in politically motivated alternative media. In our study, we engaged in different forms of textual analysis in order to investigate three kinds of articles about Star Wars: The Force Awakens in conservative and liberal alternative media. Specifically, we conducted a close reading of reviews of the film, opinion articles about the film and fluff articles about the film. Essentially, we found that the three types of popular culture articles were necessary for the establishment of strong transformative bridges that allowed for intersections between activist alternative media and mainstream media. In addition, we also found the ideological assumptions embedded within the fluff articles to be the most important aspect of this bridge; these ideologies about culture and consumerism allowed for the strongest intersections to emerge.
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Schleser, Max. "Mobile Moving Image Culture & Smartphone Filmmaking Past, Present & Future." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 7–14. http://dx.doi.org/10.37312/imoviccon.v2i1.38.
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Over the last decade, smartphone filmmaking evolved from an underground and art house into an egalitarian filmmaking practice and moving-image culture. In an international context mobile, smartphone and pocket films can provide access to filmmaking tools and technologies for a new generation of filmmakers. Max Schleser will review the developments and directions in mobile, smartphone and pocket filmmaking through the International Mobile Innovation Screenings (www.mina.pro). During the last ten years, he curated the screening and smartphone film festival, which captures and celebrates smartphone films about communities and cities from around the world. Mobile, smartphone and pocket filmmaking expands the tradition of experimental filmmaking, expanded cinema and documentary making. Smartphone filmmaking facilitates experimentation. This presentation will outline how early mobile filmmaking aesthetics still resonate in contemporary smartphones films and documentaries that screen at major festivals such as Berlinale or Festival de Cannes. Furthermore, mobile moving image aesthetics now influence filmmaking more generally.
As Creative Arts research in screen and digital media, Max Schleser’s research projects are also disseminated via non-traditional research outputs. He applies practice-led research to examine novel film forms and formats. His creative practice focuses on filmmaking and curation. Max Schleser has demonstrated how mobile media can drive social innovation in interdisciplinary research projects. To establish a conversation on mobile media's potential for transdisciplinary research, he co-edited Mobile Media Making in an Age of Smartphones and Mobile Story Making in an Age of Smartphones. His monograph, Smartphone Filmmaking: Theory & Practice will be published by Bloomsbury in September 2021.
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Zhu, Zhijing, and Guicheng Zhuang. "Analysis on the Countermeasure of China’s IP Drama Importing to Vietnam under the New Media Environment." SHS Web of Conferences 123 (2021): 01021. http://dx.doi.org/10.1051/shsconf/202112301021.
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With the arrival of the new media era and the continuous development of China’s domestic IP dramas, the downturn in domestic TV dramas has been broken, more and more IP dramas obtain higher audience rating rely on the Internet, and it becomes a phenomenon hot style. Vietnam is geographically adjacent to China, and they have similar cultures. A lot of Vietnamese culture is derived from Chinese culture, and they are heavily influenced by the values and lifestyle of Confucius in the past, Chinese film and television is a literary genre familiar to Vietnamese, which is one of the most important components of daily entertainment. This paper will research on how to use the Internet to strengthen the import of film and television culture to Vietnam, so that Chinese IP dramas can also increase the audience rating in Vietnam and enhance the cultural export.
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Uhlirova, Marketa. "Excavating fashion film: a media archaeological perspective." Journal of Visual Culture 19, no. 3 (December 2020): 340–61. http://dx.doi.org/10.1177/1470412920964915.
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In the emerging ‘video-first world’ of the last decade, global fashion brands have made the moving image an integral component of their digital marketing strategies. As a result, both the industry and popular perceptions of fashion film have been increasingly colonized by the notions of branding and promotion. Recent scholarship on fashion film too has put the fashion brand at the centre of analysis. This article argues against any such premature fixing of fashion film’s identity. Instead, it proposes shifting the existing perspective by reframing fashion film as not only a product of the fashion industry and associated media but also one of the cinema industry and culture. Drawing on media archaeological models of ‘excavation’ and ‘parallax historiography’, the article examines contemporary digital fashion film in parallel with fashion film of the early 20th century – a juxtaposition that helps to recapture the phenomenon’s remarkable diversity and open possibility in both periods.
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Blakey, Elizabeth. "Showrunner as Auteur: Bridging the Culture/ Economy Binary in Digital Hollywood." Open Cultural Studies 1, no. 1 (November 27, 2017): 321–32. http://dx.doi.org/10.1515/culture-2017-0029.
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Abstract This article engages the metaphor of showrunner as auteur to examine freedom of expression in television. News articles offer the metaphor of showrunner as auteur, with Hollywood journalists discussing the writer-producers of the new Golden Age of Television. Media convergence, including cable and digital technologies, has disrupted traditional TV organisations and power brokers, bringing about a renaissance. Jenkins (2006) challenges scholars to see media convergence in terms of voice and participation, rather than technology. Following Jenkins, this study engages auteur theory, and Marshall McLuhan’s analysis of the medium and the message, to better understand TV showrunners. Critical insights from Marx and Bourdieu are considered with regard to the interplay of cultural and economic forces. The analysis compares earlier film directors-Jim Jarmusch and the Coen Brothers-with showrunners of the cable and digital era, including David Chase, the Wachowskis, David Benioff, and Diablo Cody. Because of disruptive technologies, TV showrunners are able to break free from media restraints and bridge the culture/economy binary that structures TV as a field of production. No longer bound by broadcast censorship and scheduled programming, TV showrunners are producing shows that express their signature messages, transforming TV into a cinematic experience.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.
Full textAbstract:
The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Ruiz, José Santaemilia, and Betlem Soler Pardo. "Translating film titles." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 2 (December 31, 2014): 193–215. http://dx.doi.org/10.1075/babel.60.2.04rui.
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In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative of the vast universe of translation studies. The differences between languages are palpable, not only from a linguistic point of view but also from a pragmatic, historical or cultural standpoint. In this paper, we deal with the translation of Quentin Tarantino’s film titles into a number of European languages, including Spanish, Catalan, French and German. Quentin Tarantino’s films are controversial, self-reflexive and have acquired a significant recognition within popular culture. Most of the typologies employed so far have revolved around the notion of ‘fidelity” in the translation of film titles, and involving such strategies as literal translation, transposition, addition, etc. We wish to propose here another avenue for investigation: that of film-title translation as a complex (and globalised) rewriting phenomenon that benefits the commercial and ideological interests of the film industry.
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Thomas, Julian. "Reframing culture: Stuart Cunningham's legacies." Media International Australia 182, no. 1 (November 17, 2021): 44–47. http://dx.doi.org/10.1177/1329878x211043895.
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This essay offers an appreciation of Stuart Cunningham's substantial and diverse contributions to ‘reframing culture’ in Australian research, policy and industry practice, from his early reformulations of Australian film history to his recent work on digital media disruption. The essay discusses the range of Cunningham's institutional and intellectual legacies, suggesting that his advocacy for cultural policy and the creative industries together with his leadership of major collaborative research initiatives in the humanities and social sciences have been especially important for media and cultural studies in Australia. Further, his approach to the project of ‘reframing culture’ is likely to remain a critical task.
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Rahmawati, Rina, and Jihaduddin Akbar. "REPRESENTASI BUDAYA POPULER DALAM FILM SENIOR KARYA BAGUS BRAMANTI DAN EKO IVANO WINATA (Popular Culture Representation in Senior Film’s by Bagus Bramanti and Eko Ivano Winata)." Sirok Bastra 9, no. 1 (August 30, 2021): 81–92. http://dx.doi.org/10.37671/sb.v9i1.273.
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Penelitian ini bertujuan untuk mendeskripsikan bentuk budaya populer yang terepresentasi dalam film Senior karya Bagus Bramanti dan Eko Ivano Winata. Penelitian ini berjenis penelitian deskriptif dengan pendekatan kualitatif. Sumber data penelitian ini yaitu film Senior karya Bagus Bramanti dan Eko Ivano Winata. Data dalam penelitian ini berupa kata-kata dan kalimat yang merupakan hasil identifikasi dari percakapan dan setting sebagai budaya populer yang terlihat dan terdengar dalam film. Teknik pengumpulan data pada penelitian ini menggunakan teknik dokumentasi dan teknik simak dan catat. Teknik analisis yang digunakan yaitu menggunakan aktivitas reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa budaya populer dapat terepresentasi melalui karya sastra. Hal ini karena perkembangan zaman yang diikuti oleh canggihnya teknologi dan informasi. Bentuk budaya populer yang terepresentasi dalam film Senior yaitu media sosial, iphone, bahasa asing, bahasa gaul, makanan cepat saji, busana, kafe dan WiFi. This study aims to describe the form of popular culture represented in the film Senior by Bagus Bramanti and Eko Ivano Winata. This research is descriptive research with a qualitative approach. The data source of this research is the film Senior by Bagus Bramanti and Eko Ivano Winata. The data in this study are words and sentences identified from conversations and settings as a popular culture that is seen and heard in films. Data collection techniques in this study used documentation techniques and observation and note techniques. The analysis techniques used were data reduction, data presentation, and conclusion drawing. The results showed that popular culture can be represented through literary works. This is because of the times followed by the sophistication of technology and information. The forms of popular culture represented in the film Senior are social media, iPhone, foreign languages, slang, fast food, cafes, and WiFi.
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Aryani, Dewi Isma, Krisanti Fransissca Ribenty Setiawan, and I. Nyoman Natanael. "The "Awal Mula Peh Cun di Tangerang": An Animated Film about Acculturation of Chinese Culture Fort in Tangerang." Journal of Games, Game Art, and Gamification 6, no. 1 (October 19, 2021): 21–26. http://dx.doi.org/10.21512/jggag.v6i1.7503.
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The Peh Cun tradition is an Indonesian tradition that is acculturated with Chinese culture. The celebration of the Peh Cun tradition in Tangerang City is one of the oldest Peh Cun celebrations in Indonesia. In the celebration of Peh Cun there are many activities carried out such as: prayer, dragon boat race, eating Bacang, and also the people's market. The purpose of this design is to participate in preserving and introducing the Peh Cun tradition of the Chinese Benteng community in Tangerang to the Indonesian people with an age range of 7-20 years through the medium of short animated films. The benefits of this design are expected to increase public knowledge about one of the acculturation cultures that exist in Indonesia so that this culture remains sustainable. The design of the short animated film is carried out in a two-dimensional style suitable for cartoon type films so that it can be enjoyed by various ages, and the distribution of this short film is carried out through social media such as Instagram and Youtube as an educational function.
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Moffat, Kate, and Antti Pönni. "Saamelainen elokuvakulttuuri muotoutuvana "verkostoelokuvana"." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 30, no. 2 (July 17, 2017): 8–26. http://dx.doi.org/10.23994/lk.65226.
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Saamelainen elokuvakulttuuri muotoutuvana ”verkostoelokuvana”
Saamelaiset elokuvakulttuurit ovat yksi pohjoismaisen elokuvateollisuuden kehittyvistä haaroista. Myös viimeaikainen tutkimus (Mecsei 2015; Kääpä 2015) on korostanut kasvavaa kiinnostusta tämän pienen väestönosan elokuva- ja mediatuotantoihin. Pohjois-Norjan Kautokeinossa sijaitseva ISFI (International Sámi Film Institute) on tämän hetken suurin saamelainen mediaorganisaatio, joka tukee taloudellisesti ja materiaalisesti saamelaisia elokuvantekijöitä. Yhdessä pienempien tuotantoyhtiöiden kuten Bautafilmin ja alkuperäiskansojen elokuvakeskus Skábman kanssa ISFI tarjoaa nouseville tekijöille lisäksi yhteistyö- ja harjoittelumahdollisuuksia. Tämänkaltainen yhteistyö ilmentää alkuperäiskansojen elokuvakäytäntöjen transnationaalia ja -alueellista verkostoitumispotentiaalia.Pienten saamelaisten tuotantoyhtiöiden toiminnan analyysi auttaa ymmärtämään myös valtion avustusten merkitystä suhteessa saamelaisten itsemääräämisoikeuteen. Saamelaisyritykset pyrkivät vahvistamaan alueellisia kytköksiään ja niiden tähtäimenä on yhteinen saamelaisen median keskus. Pääosa niiden resursseista on kuitenkin lähtöisin erilaisilta pohjoismaisilta elokuvainstituuteilta. Tämä artikkeli tarkastelee saamelaista elokuvatuotantoa muotoutuvana ”verkostoelokuvana” Manuel Castellsin (1996) ja Marijke de Valckin (2007) näkökulmia soveltaen. Se osoittaa, miten verkostomainen yhteistyö tukee tämän nousevan elokuvakulttuurin autonomiaa.
Sámi Film Culture as an Emerging ‘Network Cinema’
The film cultures of the indigenous Sámi people are part of a developing branch of the Nordic film industries. Recent publications (Mecsei 2015; Kääpä 2015) highlight a growing interest in the film and media production of this small population. Currently, the International Sámi Film Institute (ISFI), based in the Kautokeino region of Northern Norway, represents the largest Sámi media organization, providing financial and material support for Sámi filmmakers. Additionally, the ISFI works with small-scale production companies like Bautafilm and Skábma – The Indigenous Peoples’ Film Centre in Finland, by providing training and other collaborative opportunities for aspiring practitioners at all levels. This collaborative work highlights both the transregional and transnational ‘networking’ potential of indigenous filmmaking practices.Analysing the workings of these small Sámi production companies also helps us to understand what role state support plays in Sámi self-determination. Although these Sámi companies are working to strengthen their regional communication links and form a collective Sámi media outlet, the bulk of their resources come from the respective Nordic film institutes. Drawing on the work of Manuel Castells (1996) and Marijke de Valck (2007), this article considers Sámi film production as part of an emerging ‘network cinema’, and looks at how network collaboration plays a complex, but nevertheless key role in the sovereignty of this emerging film culture.
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Sooriyakumaran, Michael. "Inventing the Asian community: The Toronto Reel Asian International Film Festival as discourse and collective performance." Asian Cinema 31, no. 2 (October 1, 2020): 219–34. http://dx.doi.org/10.1386/ac_00024_1.
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This article examines how the Toronto Reel Asian International Film Festival constructs an imagined Asian community and how spectators perform their cultural identities at screenings and on social media. By screening films from some Asian nations and diasporas and not others, and by screening a disproportionate number of films from East Asia, Reel Asian’s programming selections imply that some Asian societies are more Asian than others, and posit certain essentialized cultural practices associated with those societies as being emblematic of the Orient as a whole. At screenings and on social media, spectators position themselves either as insiders who identify with the Orient, or as westerners who imaginatively project themselves into an oriental culture through an act of sympathetic understanding. Through an analysis of the Reel Asian Film Festival, this article demonstrates how identity-based film festivals function as sites where an imagined community becomes visible to itself and the general public.
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Alves, Teresa Costa, Flávia Rocha, Pedro Portela, and Dácia Ibiapina. "Public service media and culture: music and film co-productions in Portugal and Brazil." Comunicação e Sociedade 30 (December 29, 2016): 387–404. http://dx.doi.org/10.17231/comsoc.30(2016).2504.
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This article aims at analyzing the Portuguese-Brazilian co-productions in film and music, as expressions of a multicultural cross-mapping between the two countries. Starting from the idea that there is greater structural concern regarding culture in public service media, we will be looking at both Portuguese and Brazilian cultural industries and their involvement in public radio and TV. We will take into account the fact that Brazil is characterized by vibrant, broad and massive cultural, and its international distribution capacity is much deeper than the other Portuguese speaking countries. Brazil is exporting much of its music and films to Portugal, which in recent years has found a strong support by the young adult audience. The Portuguese public radio has demonstrated considerable absorptive capacity of Brazilian musical products and Portuguese public TV has grouped with Brazilian production companies and TV channels in order to co-produce films together. Does this joint venture stimulate cultural industries in music and cinema in Portugal and Brazil? Does it increase the number of cultural products that circulate between the two countries? And does it help to intensify a dialogue between them? These research questions will trigger a few clues to understand this cultural bilateral topic.
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Culver, Annika A. "Promiscuous Media: Film and Visual Culture in Imperial Japan, 1926–1945." History: Reviews of New Books 46, no. 6 (November 2, 2018): 158–59. http://dx.doi.org/10.1080/03612759.2018.1512318.
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Li, Zhaoting, and Huanqin Li. "Strategies for New Media Documentary Creation Based on the Psychology of the Audience." Scientific and Social Research 4, no. 3 (March 23, 2022): 144–48. http://dx.doi.org/10.26689/ssr.v4i3.3686.
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In the new media era today, all kinds of film and television works are being rapidly updated and iterated. In the film and television market, the recognition of audience is the motivation to move forward. This article finds the needs of the audience through documentary changes in the new media environment, sees its essential problems and opportunities in the highly commercialized mass culture phenomenon of new media, and explores strategies for new media documentary creation.
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Kallioniemi, Kari. "Toposkartta, kliseekokoelma ja moderni panoraama." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 2 (July 1, 2019): 27–39. http://dx.doi.org/10.23994/lk.83448.
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Artikkelissa tarkastellaan suomalaisista musiikkitähdistä viime vuosina tehtyjä elämäkertaelokuvia ja niiden luonnetta mediahistorian kontekstissa. Millainen yhteys 1800-luvun mediakulttuurin todellisuudella ja sen topoksilla on musiikkitähdistä kertoviin melodramaattisiin elämäkertaelokuviin? Historiallisen ja vertailevan musiikkielokuvien lähiluvun kautta artikkeli pohtii kysymystä siitä, millä tavoin nämä elokuvat ovat kuvanneet musiikkitähtien elämää ja taidetta valkokankaalla. Käsittelemissäni suomalaiselokuvissa topokset, kliseet ja muut banaalin kansallisuuden merkit ovat osa digitaalisen kulttuurin kierrätystä, niiden avulla voidaan rakentaa emotionaalinen silta digitaalisen maailman ulkopuolella olevaan kansalliseen materiaaliseen todellisuuteen.Varhaisen eurooppalaisen kulttuuriperinnön topokset löysivät paikkansa 1800-luvun media- ja massakulttuurin panoraamoissa ja varhaisessa elokuvassa. Erityisesti Timo Koivusalon kansallisista musiikkitähdistä kertovat elokuvat ovat tietynlainen reaktionäärinen osa digitaalisen aikakauden mediakulttuurista murrosta. Elokuvien edustamat kliseet, topokset ja panoraamakerrontaan viittaava rakenne eivät niinkään pyri olemaan osa elokuvataidetta, vaan viittaavat elokuvan muodon avulla enemmän nykypäivän kulttuuriseen nationalismiin, joka hakee elinvoimansa kansallisista myyteistä, suurmiehistä, kansallisen historian käännekohdista, traditioista ja rituaaleista, maisemista, esineistä ja musiikkiesityksistä.Topos map, cliché collection, and modern panorama: The national music star biopic in media culture continuumThe article examines recent Finnish music star biopics and their characteristics in the context of media history. I apply historical and comparative close reading in analyzing the ways in which earlier films have represented the lives and art of great music stars. Melodramatic biographical films were in many ways successors to 19th century media culture as carriers of European cultural heritage in depicting the lives and art of musical heroes. The Finnish films discussed in this article use topoi and clichés which represent banal nationalism.The 21st century Finnish national musical hero biopics, and especially the films by Timo Koivusalo, can be seen as a kind of reactionary response to the digital disruption of media culture. The films’ clichés, topoi, and panoramic style of narration are not used to create film art as such. Instead, film form is applied to flag today’s cultural nationalism, which uses national myths, great men, national historical turning points, traditions and rituals, landscapes, artifacts, and music to gain vitality. The films construct an emotional bridge to a nationalistic, materialistic past which exists outside the digital world.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Rahmatika, Arina. "Dakwah Melalui Film: Sebuah Kajian Aksiologi." Jurnal at-Taghyir: Jurnal Dakwah dan Pengembangan Masyarakat Desa 4, no. 1 (December 28, 2021): 133–46. http://dx.doi.org/10.24952/taghyir.v4i1.4283.
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The rapid development of information and communication tools makes da'wah must be transformed according to the times, one of which is through film media. Da'wah through films can be seen from how the internalization of Islamic values in the film. In addition, film as a medium of mass communication has the opportunity to be a means to guide Muslims through the Islamic values contained in the film. The merging of da'wah and film as an expression of art and culture produces contemporary da'wah, alternative da'wah and transformative da'wah. However, to find out the extent to which the nature and benefits and values of Islam are contained in the film, it is necessary to discuss the da'wah film from various axiological perspectives, both in terms of use values, ethical values, aesthetic values and Islamic values.Keywords: Da’wah, Film, Axciology
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Adelberg, Jeffrey, and Joe Toler. "Comparison of Agar and an Agitated, Thin-film, Liquid System for Micropropagation of Ornamental Elephant Ears." HortScience 39, no. 5 (August 2004): 1088–92. http://dx.doi.org/10.21273/hortsci.39.5.1088.
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Micropropagation of black-stemmed elephant ear (C. esculenta (L.) Schott `Fontanesii')' and upright elephant ear (A. macrorrhizos G. Don) were compared in semi-solid agar media and agitated, liquid thin-film bioreactor vessels at four explant densities (33, 100, 165, and 330 explants/L of media) using two growth regulator combinations: 1) 1 μm benzylaminopurine (BA)—growth medium, and 2) 3 μm BA plus 3 μm ancymidol—multiplication medium. The thin-film liquid system outperformed agar culture for most measured responses. Some exceptions were relative dry weights at higher explant densities and multiplication rate of Colocasia. When the thin-film liquid system was compared to agar culture, Alocasia explants produced their greatest biomass and had the least residual sugar at the highest explant density. Alocasia explants multiplied most rapidly and had the greatest relative dry weight on liquid media at the low explant densities. Alocasia plants were larger in growth medium than multiplication medium and larger in liquid medium than agar medium. When compared to agar, Colocasia in the thin-film liquid system produced the greatest biomass at the highest explant density in growth medium, had the greatest relative dry weight at the lowest explant density, and used the most sugar at the highest explant density. Alocasia and Colocasia would likely produce greater fresh and dry weight at the highest explant density if additional sugar were supplied during thin-film culture. Greater growth in thin-film culture of Alocasia and Colocasia is due in part, to greater availability of sugar in liquid compared to agar medium.
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Prayudanti, Yolanda, and Dewi Saraswati Sakariah. "Japanese Daily Vlogger Content as A Cultural Learning Medium for College Students: Study Case of Diponegoro University’s Student." E3S Web of Conferences 359 (2022): 02011. http://dx.doi.org/10.1051/e3sconf/202235902011.
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The writing of this paper is motivated by the rising amount of YouTube vloggers and its viewers about learning and introducing one country’s culture virtually. The increasing spread of these cultures is supported by a simple way of seeking out inspiration and things people are interested about, which mainly seek out on YouTube for clearly image. This also includes vlogs where people film their daily life and so their viewers are able to notice and perceive the country or cultural activities they convey. We’re seen that YouTube is prospectively new media for learning in culture and in some way also fosters its vlogger nation culture. The distinction of this research led by Silent Vlogger who unintentionally introduced one country culture. More specifically, the research is analysing Choki’s channel, a Japanese woman who has more than 1 million subscribers. We disclose from her videos, bringing out to the viewers about Japanese culture in interesting and lifeful approach. We also conducted a questionnaire survey to college students in order to maximize the results. The results show that her videos on YouTube is acceptable to be used as new media for promoting as well as learning media of Japanese cultures.
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Koduthor, J. D. "Auteur theory and Director Pa. Ranjith: Deconstructing the Reality." Vidyodaya Journal of Humanities and Social Sciences 07, no. 01 (August 2, 2022): 235–40. http://dx.doi.org/10.31357/fhss/vjhss.v07i01.15.
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Film is one of the mediums which reflect the directors’ ideology. A film director through her/his film conveys the opinion and ideology to the target audience. In comparison to other media, film has gained popularity throughout history and has evolved over time. Director is the pioneer for illustrating how films can deconstruct the reality of society in various fields. The director sets his/her plot to build and convey directors’ own ideology in the natural setting. The researcher has used descriptive content analysis to analyze the selected films of director Pa. Ranjith to analyze the qualitative data. As the theoretical framework of this study, the researcher uses the Auteur Theory, which examines the control of the author over his/her media productions. This research mainly focuses on finding out how director Pa. Ranjith deconstructs the reality through his films based on auteur theory. The hypothesis of this research is that director Pa. Ranjith uses many strategies and techniques to convey his idea to the audience. Through directors’ films, the audience can find out how the director brings the idea to the target audience using real issues like caste, religion, nationality, etc through Auteur theory. Pa. Ranjith’s selection of theme, plot, characterization and language differentiates him from other Tamil directors. Auteur theory helps to discern Pa. Ranjith’s ideology about issues he has chosen. Pa. Ranjith’s films which reflect Tamil society and Tamil culture create awareness and expectation of reality for people who become victimized by the social structure, culture and tradition including the caste and class statutes, and challenges of so called lower caste people for survival in Tamil society.
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Burn, Andrew. "Potterliteracy: Cross-Media Narratives, Cultures and Grammars." Papers: Explorations into Children's Literature 14, no. 2 (July 1, 2004): 5–17. http://dx.doi.org/10.21153/pecl2004vol14no2art1263.
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This is an opportunity to think hard about the rhetorics of multiliteracy and media literacy. What exactly do these mean when we look at the detail, at the 'micro-level' of literacy (Buckingham 2003)? How does a particular image or narrative moment 'translate' across different media? If we expect children to learn about the notion of 'character' in literature or film, what does this mean in the context of a game? If they learn the category of 'verb' in language, how do we talk about this category in film? How is the 'verb' different in the interactive media of computer games? And how do these processes relate to macro-literacy, to the broader cultural experience of books, films and games within which such meanings are situated? And what are these different formal structures representing? At the heart of this question, I want to place the question about the social purpose of Harry Potter for children, and the forms of agency the character represents.
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Payne, Robert. "Lossy Media: Queer Encounters with Infrastructure." Open Cultural Studies 2, no. 1 (November 1, 2018): 528–39. http://dx.doi.org/10.1515/culture-2018-0048.
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Abstract In an era of “frictionless” digital environments, this article proposes a queer analysis of the “lossy” materialities of mediated encounters. Building on recent scholarship on media failure and media infrastructures, it will argue that moments of disruption and deterioration commonly experienced by users reveal the failure of overlapping social and technical infrastructures to ensure lossless transmission of normative fantasies of subjectivity and mediated relationality. Highlighting the queer instability of material assemblages, it will pay close attention to how the articulation of bodies, objects, and spaces in particular scenes of lossy encounter generates unplanned affective intensities which may disorient and undo the consuming subject. Borrowing the concept of lossy file compression and adapting it for this purpose, the article’s broad aim is to offer a queer critical framework for inhabiting the contingent, emergent, and dissipating energies of media encounters beyond the capital-driven instrumentalisation of agency and the neoliberal imperatives of update culture.
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Antola, Laura. "Hämähäkkimiehen seikkailut ”totuuden jälkeisessä” ajassa." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 33, no. 3-4 (December 11, 2020): 77–91. http://dx.doi.org/10.23994/lk.100441.
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Tarkastelen artikkelissani sitä, miten John Wattsin ohjaamassa elokuvassa Spider-Man: Far from Home (2019) käytetään supersankarielokuvalle tyypillisiä genrepiirteitä rakentamaan totuuden jälkeisen ajan diskurssia. Genrepiirteiden, joita ovat ainutlaatuinen sankarihahmo, korotettu realismi ja erikoistehosteet, avulla elokuvassa käsitellään mediavälitteisen sankaruuden, valeuutisten ja totuuden jälkeisen ajan teemoja. Sekä elokuvan juoni että teemat liittyvät media- ja esitysteknologioihin, mikä tekee elokuvasta kiinnostavan tutkimuskohteen mediavälitteisten tarinoiden ja valemedian analysoimiseen.
Marvelin supersankarielokuvat ovat kuluneen kymmenen vuoden aikana nousseet maailman tuottoisimmaksi elokuvasarjaksi. Niissä näyttävät erikoistehosteet yhdistyvät realistisiin elementteihin, ja monet supersankarielokuvat kommentoivat yhteiskunnan tapahtumia. Far from Homessa nykyajan tunnistettava teinikulttuuri, joka pyörii mobiililaitteiden ja sosiaalisen median ympärillä, on yksi elokuvan tavoista tuoda fantastiseen tarinaan realismin piirteitä. Elokuvan antagonisti, yleisön huomiota janoava versio vihaisesta valkoisesta miehestä, käyttää mediaa hyväkseen luodakseen itsestään kuvan ainutlaatuisena sankarina, joka pystyy vastaamaan maapalloa kohtaavaan uuteen uhkaan. Valheet ja totuuden muuntelu yhdistetään elokuvassa mediateknologioihin ja erikoistehosteiden käytöllä korostetaan valheellisuutta ja totuuden muuntelua.
Supersankarielokuvan genrepiirteet ovat keskeinen väline, jonka avulla elokuva osallistuu totuuden jälkeisen ajan diskurssin tuottamiseen. Pyyteetön, totuudenmukainen päähenkilö taistelee yhteisen hyvän puolesta, tarina tapahtuu meidän maailmaamme muistuttavassa korotetun realismin maailmassa ja media välittää erikoistehosteilla tuotettuja valeuutisia yleisöille.
Adventures of Spider-Man in a post-truth era: Generic conventions of superhero films in building a discourse
In this article, I analyse how generic conventions of superhero films are used in John Watts’ Spider-Man: Far from Home (2019) to build the discourse of a post-truth era. The film uses these generic conventions, including an exceptional hero, heightened realism, and special effects, to discuss the themes of mediated heroism, fake news, and a post-truth era. Both the plot and themes of the film revolve around media technologies, granting an interesting point of view to the analysis of mediated storytelling and fake media.
In the past decade, Marvel’s superhero films have become the highest grossing media franchise of all time. The films combine fantastic special effects and realistic elements, and many superhero films comment on current events and the society. In Far from Home, realism is presented through e.g. the representation of current teenage culture, revolving around mobile devices and social media. The film’s antagonist is an attention-seeking version of the “angry white male” trope, who uses media to create an image of himself as a hero with exceptional abilities to stop a new threat facing the world. Lies and altering the truth are connected to media technologies in the film’s narrative, and the use of special effects highlights deceitfulness and alternative facts.
Generic conventions of superhero films are central in how the film constructs the discourse of a post-truth era: an altruistic hero fighting for the common good in a world reminiscent of our own, with the media spreading fake news created by special effects to the public.
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Driscoll, Catherine, and Liam Grealy. "In the name of the nation: Media classification, globalisation, and exceptionalism." International Journal of Cultural Studies 22, no. 3 (July 5, 2018): 383–99. http://dx.doi.org/10.1177/1367877918784606.
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This article examines the relationship between exceptionalism and nationhood in media classification. The history of age-ratings is an international one, and the present challenges associated with digital media circulation are similarly international. We argue that the nation nevertheless provides an appropriate frame for understanding age-rating by attending to the ways national agencies have struggled to articulate the specificity of their work based on the specificity of domestic constituencies. Drawing on archival and ethnographic research, our central examples include the resistance of the Motion Picture Association of America to age-based film classification, the British Board of Film Classification’s examination of American films in the 1980s, contemporary Japanese videogame regulation, and the emergence of the International Age Rating Coalition. We argue that national exceptionalism is itself generalised and that media content regulation is less about producing national culture than about laying claim to a nation by differentiation.