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Clay, Felix, Emanuele Osimo, and Sara Al-Nakeeb. "The Cambridge Mental Health Film Club: lessons to learn, feedback, expansion and development of a standard operating protocol." BJPsych Open 7, S1 (June 2021): S132. http://dx.doi.org/10.1192/bjo.2021.378.
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AimsTo report on our progress and feedback running the Cambridge Mental Health Film Club. To share the recent development of a Standard Operating Protocol to help others organise Mental Health Film Screenings in order to foster discussion, engage the public, reduce stigma about mental health and build understanding.BackgroundCinema lends itself to exploring social and mental health issues such as stigma in an enjoyable way within a limited time and budget. Viewing a film with those from different backgrounds and having a chance to discuss perspectives on meaning and significance is an effective way to promote a collaborative stance and expand perspectives. We have been running a Mental Health Film Club in Cambridge for the past 3 years and have recently celebrated our 10th screening.MethodWe give details of our screenings and feedback. We also share our Standard Operating Protocol which covers important topics such as resources to find suitable films, obtaining copyright permission, finding suitable venues, supporting open discussions, use of social media and promoting inclusivity.ResultOur Mental Health Film club shows three films a year and over time has opened up to both professionals and members of the public who are interested in discussing mental health through movies and supporting recovery. We have screened many challenging and interesting films: from the impact of religious control on emergent adolescent sexuality (‘The Miseducation of Cameron Post’) to a classic film on Alcohol Dependency (‘Days of Wine and Roses’). We also support local festivals with a similar mental health theme (e.g. MEDFEST) and have recently run a very successful screening with the University of Cambridge Psychiatry Society which was introduced by a student offering subjective experience of growing up with a sibling with an Autism Spectrum Disorder (‘Life, Animated’). We promote screenings and publish all film discussions on our website (www.tinyurl.com/psychfilmclub) and Twitter in order to contribute to resources for educational use within Psychiatry training and to further involve the wider public. Feedback shows that our sessions are highly rated at helping audiences see mental health in a new way with post film discussion especially valued.ConclusionOur experience and practical advice can inspire others to start a Mental Health Film Club and promote cohesion, resilience and collaborative thinking within their locality. For future events we plan to expand into more public engagement via local Film Festivals. We welcome delegates ideas, experiences and film recommendations.
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Balčus, Zane Balčus. "DISCUSSION: JURIS PODNIEKS AND THE CONSTELLATIONS OF TIMES." Culture Crossroads 18 (October 31, 2022): 75–88. http://dx.doi.org/10.55877/cc.vol18.84.
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The discussion Juris Podnieks and the Constellations of Times took place on 4 December 2020, in the framework of the research conference Culture Crossroads. Every year special thematic section of the conference focuses on cinema, and this time it was dedicated to Juris Podnieks (1950–1992), one of the most important documentary filmmakers of Latvian cinema who would have turned 70 on 5 December 2020. Juris Podnieks began working at the Riga Film Studio at the second half of the 1960s. In 1969, he entered the All-Union State Institute of Cinematography to become a documentary cinematographer. His graduation film was Herz Frank’s full-length documentary “Restricted Area” (Aizliegtā zona, 1975), which he filmed (together with another cinematographer, Sergejs Nikolajevs) at the youth delinquents’ colony in the town of Cēsis. Soon after, in 1977 he made his directorial debut with the newsreel Padomju Latvija/ “Soviet Latvia” (No. 3, 1977, entitled “The Cradle”/ Šūpulis). Since the beginning of the 1980s, Podnieks directed fulllength documentary films, and each of those became a notable artistic achievement and resonated in society. His first full-length film “Constellation of Riflemen” (Strēlnieku zvaigznājs, 1982) told the story of the Latvian riflemen who fought for their country under different regimes in the early 20th century. At the beginning of the film, Podnieks introduces himself and presents the film’s premise. It is still rarely used approach in Latvian documentary at the time, with the filmmaker participating and involving himself actively in the film. It was Podnieks’ subsequent full-length film “Is It Easy to Be Young?”(Vai viegli būt jaunam?, 1986), which made his name known both in the Soviet Union and internationally, and paved the way for international assignments (covered also in the discussion below). This was an unusually honest testimony of young people of the Soviet Latvia, who dared to speak frankly and express their inner feelings and thoughts about the system they lived in. In the film history of the 1980s, this is one of the most important films coming out of the region referenced as signifiers of Gorbachev’s perestroika.1 The strong voice of the filmmaker manifested in “Is It Easy to Be Young?” was the reason for receiving the commission from Central Independent Television that turned into the grand portrait of the falling Soviet Union – a five-part series “Hello, Do You Hear Us?” (Mēs, 1989, title in the USA – “Soviets”). The changing political landscape, fighting for freedom became the theme of Podnieks’ last films – “Homeland” (Krustceļš, 1990), “Post Scriptum” (Pēcvārds, 1991, which includes episodes of Barricades in Riga in January 1991, when his cameraman Gvido Zvaigzne was wounded (and later passed away in the hospital), but Andris Slapiņš killed on the spot in the attack), “The End of Empire” (Impērijas gals, 1991), and the last short film “The Moment of Silence” (Klusuma stunda, 1992, dedicated to Zvaigzne and Slapiņš). He died tragically in 1992. Almost thirty years after Podnieks’ passing, at this discussion we aim to examine his working methods, approach to documentary, specific films, and other issues paying tribute to him and his legacy that remains.
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Hanifi, Muhammad Luthfan, and Redyanto Noor. "KRONIK FILMEDIA’S RECEPTION TOWARDS FLORIAN GALLENBERGER’S COLONIA." HUMANIKA 27, no. 1 (June 6, 2020): 11–22. http://dx.doi.org/10.14710/humanika.v27i1.29469.
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This paper analyzes the audience’s reception of Colonia, a 2016 film by Florian Gallenberger. As a popular work, Colonia is a docudrama film that presents historical events happened in Chile during the coup of General Augusto Pinochet in 1973. The problems analyzed in this article are the reception process of respondents and the quality of Colonia as popular films. The film is chosen for the study as it received five nominations from German Film Awards 2016 and won Bavarian Film Awards 2016 for Best Production category, but it only has a rating of 26% from 47 reviews by Rotten Tomatoes. The respondents involved in this study are members of Kronik Filmedia of Diponegoro University. Kronik Filmedia is the university film club that focuses on producing short films and appreciating films by conducting film discussions. The purpose of the study is to describe the reception processes of respondents who are affected by their horizon of expectations and to prove that not all of popular works are low literature. The theory used in this paper is the Aesthetic of Reception theory by Hans Robert Jauss. The main concept of this theory is horizon of expectations. Horizon of expectations is a reader’s preferences from the previous experiences or readings. For the methodology, this paper uses qualitative research and focus group discussion as the data collecting method. Focus group discussion is a gathering data method by means of interviewing respondents in a forum consisted of five to eight people. Focus group discussion is an effective method to observe a social phenomenon or a case study. The data obtained is then analyzed as texts to draw a conclusion. The research involves eight members of Kronik Filmedia as respondents. The results of the research show the reception of Kronik Filmedia as Colonia can satisfy and even surpass seven out of eight respondents’ horizon of expectations as the film goes to be more ‘interesting’ and ‘thrilling’. All respondents also view that Colonia is worth to be studied and discussed as those of high literature.
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Panzer, W., and N. Petoussi. "Film Processing - Summary of Discussion." Radiation Protection Dosimetry 49, no. 1-3 (September 1, 1993): 111. http://dx.doi.org/10.1093/oxfordjournals.rpd.a081914.
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Panzer, W., and N. Petoussi. "Film Processing - Summary of Discussion." Radiation Protection Dosimetry 49, no. 1-3 (September 1, 1993): 111. http://dx.doi.org/10.1093/rpd/49.1-3.111.
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Zitmane, Marita. "Diskusijas “Vai Latvijas kino trūkst sieviešu stāstu?” apspriede sociālajā medijā Facebook. Komentāru analīze." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 306–19. http://dx.doi.org/10.37384/aplkp.2022.27.306.
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Imbalanced gender representation and the reproduction of stereotypes in cinema are the subjects of international discussion and intervention by gender mainstreaming in the film industry. According to the UNESCO 2018 Global Report “Re|Shaping Cultural Policy”, women are under-represented in the film industry, have limited access to resources, and face significant gender pay gaps. Change is needed to create a world in which a woman as often as a man is a decision-maker and in which watching films written, directed, and made by women is widespread. The shortcomings in the management of funding and in the principle of diversity need to be addressed so that viewers can see different and diverse stories and experiences on cinema screens. The discussion “Stolen Kristaps” of the LTV1 program “100 grams of culture” actualized and localized the problem of gender parity in the film industry in Latvia. The discussion that started in TV format also continued on social media. The aim of the article is to explore the discussions inspired by the social media Facebook. The aim of the article is to find out what was discussed, what arguments were used, where are we, and where do we want to go? The analysis of the discussions reveals that there is no consensus among the representatives of the film and art industry on whether the lack of women’s stories in Latvian cinema is a problem. There is also a strong disagreement about possible approaches to resolving the situation.
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Sullivan, Gordon. "“We Do Not Look At Them As They Really Are”: Technics andPhotogéniein Jean Epstein's Film-Philosophy." Film-Philosophy 22, no. 3 (October 2018): 406–27. http://dx.doi.org/10.3366/film.2018.0087.
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This article argues that we can understand Jean Epstein's theory of photogénie as an instance of technics. Starting from a reading of Epstein's final fictional film Le Tempestaire (1947), we can see that Epstein collapses the distinction between human and technological. This insight leads to a discussion of Epstein's theory of photogénie more generally, and one that highlights the term's relationship to temporality. This temporal dimension recalls Bernard Stiegler's discussion of technics in Technics and Time (3 volumes). As the series evolves, Stiegler increasingly foregrounds cinema as technics, and the essay ends with a discussion of the ways that Epstein's understanding of photogénie can press on Stiegler's claims.
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Kapetanović, Amir. "“Kaya” from Novella to Film." Colloquia Humanistica, no. 7 (December 18, 2018): 135–52. http://dx.doi.org/10.11649/ch.2018.008.
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Kaya from Novella to FilmThis paper analyses the transformation of K. Quien's novella Kaya into a screenplay adaptation and a film of the same name by eminent Croatian director Vatroslav Mimica. The analysis points out both significant characteristics of the transformation of the text and the transformation of the portrayed Mediterranean urban area (a crime in Trogir), as well as the linguistic stylisation of the characters' Trogir dialect, which contributes to the atmosphere of the film. Discussion of this film has so far only unfolded on the basis of a comparison of Quien's novella and Mimica's film. This analysis thus contributes important information about the structural and narrative characteristics of the unpublished screenplay, which sheds more light on the paths towards the creation of this Croatian film,which is considered V. Mimica's best work and one of the best Croatian films. Kaya, od noweli do filmuW artykule analizowane jest przekształcenie noweli Kaya, zabiję cię K. Quiena w scenariusz adaptacji filmowej, a następnie w film pod tym samym tytułem, nakręcony przez wybitnego chorwackiego reżysera Vatroslava Mimicę. Analiza skupia się na dwóch kwestiach. Po pierwsze, dotyczy przekształcenia tekstu i obrazu przestrzeni śródziemnomorskiego miasteczka (Trogiru). Po drugie, omawiana jest stylizacja językowa, wykorzystanie cech dialektu trogirskiego, przyczyniające się do stworzenia atmosfery filmu. Dotychczasowa dyskusja o filmie jedynie powierzchownie dotykała związków z nowelą Quiena na poziomie porównawczym. Niniejszy artykuł przynosi ważne informacje o strukturalnych i narracyjnych cechach niepublikowanego dotąd scenariusza, co rzuca nowe światło na proces tworzenia filmu, uznawanego za najwybitniejsze dzieło Mimicy i jeden z najlepszych chorwackich filmów w ogóle. Kaya, od novele do filmaU ovom radu analizira se transformacija novele K. Quiena Kaja, ubit ću te preko scenarističke adaptacije u istoimeni film istaknutoga hrvatskoga redatelja Vatroslava Mimice. U analizi se ističu ne samo bitne značajke transformacije teksta nego i transformacija predočene mediteranske urbane sredine (zločin u Trogiru) te jezična stilizacija trogirskoga govora likova, koji doprinosi ambijentalnom ugođaju filma. Do sada se o filmu raspravljalo samo na temelju usporedbe Quienove novele i Mimičina filmskoga ostvarenja, pa ova analiza donosi neke važne podatke o strukturnim i narativnim značajkama neobjavljenoga scenarija, čime se jače osvjetljavaju putovi kreacije toga hrvatskoga filma, koji se smatra najboljim redateljskim ostvarenjem V. Mimice i jednim od najboljih hrvatskih filmova.
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Lippit, Akira Mizuta, Noëël Burch, Chon Noriega, Ara Osterweil, Linda Williams, Eric Shaefer, and Jeffrey Sconce. "Round Table: Showgirls." Film Quarterly 56, no. 3 (2003): 32–46. http://dx.doi.org/10.1525/fq.2003.56.3.32.
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As recently as December, 2002, the New York Times' Elvis Mitchell referred to the "wreckage"of Showgirls (1995). Yet the Film Quarterly editorial board had just been galvanized by a discussion of the same film. Apparently there exists a number of secret and not-so-secret devotees of the film. Showgirls has, perhaps unexpectedly, served to stimulate scholarly thought around issues of camp, satire, class, gender, the fallen woman, showgirl musicals, trash cinema,sexploitation films, hedonistic criticism, and reading and teaching the film. Noëël Burch, Akira Mizuta Lippit, Chon Noriega, Ara Osterweil, Eric Schaefer, Jeffrey Sconce, and Linda Williams have contributed to this discussion of the film. Perhaps Showgirls can still be rescued from the wreckage?
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Li, Manxi, Wenqing Su, and Xinman Li. "New Documentary Film Seeks to Be “More Real”." Scientific and Social Research 3, no. 5 (November 5, 2021): 169–73. http://dx.doi.org/10.36922/ssr.v3i5.1246.
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After the birth of documentary film, the discussion of “fiction” and “non-fiction” has not stopped. Influenced by the ideological trend of postmodernism, “new documentary film” overturns the concept of traditional documentary film and believes that it is feasible and meaningful for documentary to take “fiction” as a means. Adhering to the “new” exploration of this documentary, the author discusses the historical origin of new documentary films, the authenticity of new documentary films at home and abroad and the creative techniques of new documentary films, in order to provide innovative support for the true publication of new documentary films.
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H Bickford, Sonja, and Michelle Warren. "Informed Change: Exploring the Use of Persuasive Communication of Indigenous Cultures Through Film Narratives." Informing Science: The International Journal of an Emerging Transdiscipline 23 (2020): 107–18. http://dx.doi.org/10.28945/4635.
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Aim/Purpose: There is a need to find a way to utilize narrative storytelling in film to make students more aware of the impacts of global problems and how they are perceived. Background: Two films from the year 2015 from two very different places in the world explore the encroachment and secondary effects of urban civilization upon indigenous cultures. Methodology: An interpretive, qualitative, methodology was used in addressing and discussing the use of these two films as a persuasive communication teaching aid. Contribution: This paper offers an approach to using narratives of films on indigenous issues in education to inform students about real-world issues and the wide impacts of those on various cultures and populations. Findings: Through the discussion of the two films, we suggest that using films with indigenous themes is beneficial to a course curriculum in a variety of subjects from communication to history and politics, to help students visualize the problems at hand. Anecdotally, the authors note that students are more engaged and willing to discuss topics if they have watched films or clips that deal with those topics than if they have simply read about them. Recommendation for Researchers: Technology and use of visuals are used as teaching tools in a variety of fields. Film narratives can be used as a teaching tool in multiple fields and provide insight about a variety of ideas. Identifying films such as those with indigenous themes provides an example of how one film can bring up multiple, real-world, topics and through led discussion student reflection can potentially lead to self-insights and have lasting impacts. Future Research: Additional research and assessment can be done on the impact of teaching with films and their compelling story telling of issues, and what types of questions should be asked to maximize learning and the impact of film narratives.
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Martinelli, Lucas. "Women's Time: The Mar del Plata International Film Festival." Film Quarterly 73, no. 3 (2020): 89–92. http://dx.doi.org/10.1525/fq.2020.73.3.89.
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Lucas Martinelli reports from the 34th edition of Argentina's Mar del Plata International Film Festival, the only FIAPF-accredited film festival in Latin America. Noting that this year's festival marked the sophomore effort of Cecilia Barrionuevo, the first female director in the festival's history, Martinelli focuses attention on the notable uptick in discussion space and festival slots awarded to women in the industry. The festival's second Forum of Cinema and Gender Perspective brought female speakers from fields across the industry—actresses, directors, researchers, and journalists. In his discussion of films directed by women, Martinelli notes an interest in challenging the historical archive to create a new feminist historiography.
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Nie, Sen, and Yan Liu. "Discussion on the Digital Cinema Technology and its Development Trends." Advanced Materials Research 989-994 (July 2014): 4226–28. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.4226.
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With the rapid development of modern science and technology, the development of digital movie is increasingly fast, digital film technology has gradually become the mainstream trend in the development of film technology.And its significance for regulating the film industry and promoting the sustainable development of the film industry is very important.The standards of digital cinema technology and traditional film technology are different, and grasp the full digital film technology standards, to fully improve on it and in the practice of the implementation is very important for the development of digital film. Therefore, we must attach great importance to the digital film technology, to enhance the capability of independent innovation of our country, and constantly improve after repeated practice, make contribution to the promotion of China's movie industry prosperity
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Griffin, Lauren N. "Audience Reactions to Climate Change and Science in Disaster Cli-fi Films: A Qualitative Analysis." Journal of Public Interest Communications 1, no. 2 (December 22, 2017): 133. http://dx.doi.org/10.32473/jpic.v1.i2.p133.
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Little scholarly attention has been paid to how audiences interpret pop culture messages about climate. This paper addresses this issue by taking up the case of disaster cli-fi films and exploring how audiences react to film representations of climate change. It draws on data from focus groups to evaluate audience responses to disaster cli-fi films. Analysis reveals that by only briefly discussing climate change in their plotlines, the films weaken their environmental message. The paper concludes with a discussion of the effects of disaster cli-fi films on environmental attitudes and suggestions for further research.
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Fife Donaldson, Lucy. "Surface Contact: Film Design as an Exchange of Meaning." Film-Philosophy 22, no. 2 (June 2018): 203–21. http://dx.doi.org/10.3366/film.2018.0073.
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Surface has become an important consideration of sensory film theory, conceived of in various forms: the screen itself as less a barrier than a permeable skin, the site of a meaningful interaction between film and audience; the image as a surface to be experienced haptically, the eye functioning as a hand that brushes across and engages with the field of vision; surfaces within the film, be they organic or fabricated, presenting a tactile appeal. Surface evokes contact and touch, the look or sound it produces (or produced on it) inviting consideration of its materiality, and perhaps even a tactile interchange. If the surface of film, across its varied associations, presents the possibility of an intersubjective contact between film and audience, this article seeks to include another body: that of the filmmaker. There are many people who contribute to the material constitution of a film and I would suggest that we might seek to appreciate its textures just as we might that of a painting. Focus on the fine detail of textures within the film becomes a way to foreground the contributions of filmmakers who have been less central to discussions of meaning, but whose work in the making of décor, costume and sound effects, has a significant impact on filmic affect. Through detailed discussion of film moments, archival design materials and interviews with film designers, this article will attend to the exchanges of meaning situated on the audio-visual surfaces of film.
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Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.
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What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
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Deb, Paul. "“I Saw a Different Life. I Can't Stop Seeing It”: Perfectionist Visions in Revolutionary Road." Film-Philosophy 25, no. 3 (October 2021): 251–71. http://dx.doi.org/10.3366/film.2021.0175.
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In this article, I claim that Sam Mendes’ Revolutionary Road (2008) is a recent version of the film genre that Stanley Cavell calls the “melodrama of the unknown woman”. Accordingly, my discussion focuses on two key elements of that identification: the film's overriding dramatic and thematic emphasis on conversation, and the central characters’ relation to the wider social and political concerns of America.
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Isenberg, Noah, and Rob White. "Carnage and All: A Discussion." Film Quarterly 65, no. 3 (2012): 44–48. http://dx.doi.org/10.1525/fq.2012.65.3.44.
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Rodriguez-Morales, Grisel, Erin Emery-Tiburcio, Robyn Golden, Marc Fenton, and Jasmine Chandy. "Schaalman Senior Voices: Transitioning From “What’s the Matter?” to “What Matters?”." Innovation in Aging 4, Supplement_1 (December 1, 2020): 582. http://dx.doi.org/10.1093/geroni/igaa057.1939.
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Abstract The 4Ms of an Age-Friendly Health System start with What Matters to the older adult. A unique method for asking that question is through film. Schaalman Senior Voices (SSV) films older adults talking about What Matters to them, and uses the films to stimulate discussion about later life with older adults in the community (n=264), with health care professions students learning to listen to older adults (n=1250), and health system executives considering implementation of the Age-Friendly Health Systems (AFHS) initiative (n=100). SSV has completed longer professional films interviewing 12 older adults. Using a mobile platform, SSV has filmed 50 older adults in the community and at health events. Outcomes of film discussions will be presented, including inspiration for older adults having conversations with family and physicians about What Matters, health care students effectively using skills in asking What Matters to enhance the care they provide, and executives considering AFHS implementation.
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de Cock de Rameyen, Jade. "Narrative Difference: Jacques Rancière, Gilles Deleuze and Uncle Boonmee Who Can Recall His Past Lives." Film-Philosophy 25, no. 2 (June 2021): 165–86. http://dx.doi.org/10.3366/film.2021.0167.
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How should critics approach narrative temporality in times of ecological disorder? Literary critics have attempted to bridge eco-criticism with narrative theory, shifting attention from narrative content to narrative form. Econarratology studies how narrative shapes our understanding of the environment. Yet, eco-critical interrogations of narrative form are lacking. Grounded in a homogeneous conception of time, narratology often relays a dichotomy between narrativity and “dysnarrativity”. This dichotomy fails to translate the variety of temporal processes in film. I shall highlight the problem underlying Jacques Rancière's critique of Deleuze's film-philosophy and its relevance for narrative theory. My discussion of this dispute is grounded in the examination of Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010). Critics invariably base their analyses on Boonmee's remembrances and reduce narrative complexity to dysnarrative indeterminacy by accommodating non-human storylines into a human plot. I argue that Uncle Boonmee both confirms and bypasses the critique of linear narrative that is at heart of the Rancière-Deleuze discussion. In doing so, Weerasethakul's feature calls for a new paradigm – different, yet unlike the crystalline narrative, positively determined. By bringing the event to the fore, Deleuze offers another theoretical backdrop for event narratology, that in turn proves useful to econarratology.
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Hanssen, Eirik Frisvold. "The cultural and social memory of film history online: Norwegian educational films on YouTube." Journal of Scandinavian Cinema 10, no. 3 (September 1, 2020): 259–69. http://dx.doi.org/10.1386/jsca_00028_1.
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In this article, I identify forms of cultural and social memory, represented by a number of digitized Norwegian educational films on traditional crafts published on the YouTube channel of the National Library of Norway and how the online dissemination of analogue film history might impact notions of memory. This discussion is placed within the context of earlier JSCA articles on film archives.
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Wittusen, Cato. "Romantic Film-Philosophy and the Notion of Philosophical Film Criticism." Film-Philosophy 20, no. 2-3 (October 2016): 198–218. http://dx.doi.org/10.3366/film.2016.0011.
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A common critique directed at many philosophical readings of films is that they fall short of paying careful attention to film aesthetics. The film-philosopher Robert Sinnerbrink, who defends what he has dubbed ‘romantic film-philosophy’, is a notable exception on this score. Taking his cues from Stanley Cavell's writings on film, Sinnerbrink has developed and argued for a notion of philosophical criticism that takes aesthetic qualities of film into consideration. This paper attempts to relate Sinnerbrink's notion of philosophical criticism to recent conversations about the differences between academic writing on film and film criticism. I argue that some aspects of Sinnerbrink's approach make it natural to compare it with traditional film criticism. There are also elements of his approach that are comparable to the use of films to support and develop theoretical perspectives in some academic writings. Next, I consider whether Sinnerbrink succeeds in challenging the traditional hierarchy of philosophy over film and art. I argue that interpreting film with attention to how it contributes philosophically, as he recommends, doesn't entirely escape the philosophical disenfranchisement of film. In the final part of the paper, I argue that if we want to re-enfranchise film (and art in general), we should pay more attention to what film and other art forms offer us that we do not find in philosophy. In my discussion, I make use of André Bazin's notion of film criticism and Simone de Beauvoir's view on the metaphysical novel.
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Tallant, David R., Karen L. Higgins, and Alan F. Stewart. "Application of Waveguide Raman Spectroscopy to High-Index Dielectric Films." Applied Spectroscopy 42, no. 2 (February 1988): 326–30. http://dx.doi.org/10.1366/0003702884428211.
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Waveguide Raman spectroscopy has been applied to the analysis of single-layer, refractory-oxide, thin-film coatings on fused silica. With the use of the film as a waveguide, the interaction of the laser probe beam with the film is maximized, and interference from the silica substrate is minimized. An amorphous film of Ta2O5 was found to be an excellent waveguide, yielding an intense Raman spectrum. Even though polycrystalline films of Y2O3, ZrO2, HfO2, and ThO2 were found to be poor waveguides, they still yielded Raman spectra containing useful structural information. Such Raman spectra showed that the ThO2 film was initially in an unusual structural form, which spontaneously transformed into cubic ThO2. Even for films yielding relatively weak Raman bands, substrate Raman scattering was not a serious interference. Representative spectra are presented, along with a brief discussion of the requirements for coupling optical beams into films with large refractive indices.
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Trisnawati, Ririn Kurnia, Dian Adiarti, and Mia Fitria Agustina. "Gender stereotypes in Nancy Meyers� �The Intern� (2015): A study of film audience response." EduLite: Journal of English Education, Literature and Culture 6, no. 1 (February 28, 2021): 147. http://dx.doi.org/10.30659/e.6.1.147-164.
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Previous film studies focusing on gender stereotypes have been sufficiently conducted, yet what remains understudied is the study of film audience about dynamic gender stereotypes shown in one film. Conducting film audience study with the issue of dynamic gender stereotype allows discussions about audience�s perceptions, awareness and underlying knowledge of gender stereotypes. This study attempts to unravel responses collected from thirteen audience of Nancy Meyer�s �The Intern� (2015) and formulates two research objectives i.e. first, to discuss how the audience of �The Intern� perceive the dynamics of gender stereotype depicted in the film and, second, to examine the underlying insights of their perceptions. The incorporated theories are film audience study, serving also as methodological approach,�and the discourse of gender stereotype and its changing perspectives. The finding and discussion show that the audience of �The Intern� perceive the inclusion of gender stereotypes and its dynamic change in the film, and their perceptions are followed by several reasons and insights: the story-line of �The Intern� and the audience�s prior knowledge about gender stereotypes. Awareness and sensibility of gender stereotypes are also revealed after watching �The Intern�. Lastly, discussion about the intersection of the audience�s prior knowledge with the exposure about gender stereotype from various resources is also carried out.
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Kovanen, Marjo, and Sirkku Kotilainen. "Transcultural perspectives in Teaching Children's Horror Films." Seminar.net 14, no. 1 (June 28, 2018): 31–42. http://dx.doi.org/10.7577/seminar.2581.
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Transcultural perspective has recently raised more academic attention due to the internationalization of higher education and migration all over the globe. Thus the objective of the paper is to open the discussion on film education, especially teaching children’s horror films from the transcultural perspectives through an empirical case study among university students in media education. We concentrate on students attitudes and perception on children´s horror from the perspective of film education. Our question is, how to increase the students understanding of children´s horror culture and pedagogies related to it? The paper consists of the first research results based on the course including lecturers’ research diaries, students' interviews, their film life studies and practical assignments such as films made during the two-week workshop.
The preliminary results show that the perceptions and attitudes vary a lot depending on cultural backgrounds. Students’ pre-understandings of film culture and film literacy as a pedagogical practice mostly were professional-oriented and colored with the aesthetic perception on film. The most visible impact of the course was the minds-opening for wider understanding of film as education and uses of film in teaching. Taking up the aspects of children´s horror in the course was surprising, even irrelevant to students: they didn´t expect this kind of perspective at all. As a result the course was able to create open, safe spaces for reflection and changing students’ mindsets. Based on the results, situated approaches to film education is suggested to reinforce multiliteracy model with creation of safe space for discussion and supplementing emotional skills.
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Yu, Anni. "Discussion of the Artistic Aesthetic Transformation between Film and Literature from the Perspective of Adaptation." Journal of Language Teaching and Research 11, no. 6 (November 1, 2020): 1005. http://dx.doi.org/10.17507/jltr.1106.19.
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Literature relies on text reading to realize its artistic value. With the continuous replacement of communication means, literal reading may become a kind of classical or aristocratic sentiment. More and more people meet the needs of reading by means of image. Therefore, TV series or computer network related to it have become the most popular way, while film has become a very unique artistic way between literature and TV series. Since Chinese films have made some achievements in literary adaptation, this paper attempts to explore and discuss the essence of the artistic subject of the transformation of film and literature.
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Anderson, Debra, Carol Langer, Rich Furman, and Kim Bender. "Using Films to Teach Social Welfare Policy." Advances in Social Work 6, no. 2 (November 30, 2005): 251–62. http://dx.doi.org/10.18060/111.
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Because social welfare policy tends to be among the least-preferred courses in the social work curriculum, using contemporary films to augment the course content may help students gain awareness of the nature of the relationship between micro- and macro-level social work. Films may also help to bring abstract policy concepts into a more grounded and focused format. The purpose of this article is to explore the use of contemporary film in teaching social welfare policy in courses by presenting three films as case examples along with suggested discussion questions for each. The article concludes by discussing a framework and criteria for the selection and use of films for social work curricula.
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Hunter, Aaron. "When is the now in the here and there? Trans-diegetic music in Hal Ashby’s Coming Home." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 36–48. http://dx.doi.org/10.33178/alpha.3.03.
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While it would be a stretch to classify Hal Ashby as a postmodernist filmmaker (with that term’s many attendant ambiguities), his films of the 1970s regularly evince post-Classical stylistic and narrative strategies, including non-linear time structures, inter-textual self-references, open endings, and nuanced subversions of the fourth wall. Ashby’s most consistently playful approach to form comes by way of his integration and development of trans-diegetic musical sequences within his body of work. Music in Ashby films creates a lively sense of unpredictability, and each of his seven films of the 1970s employs this strategy at least once. Moreover, trans-diegetic music in Ashby’s films becomes a device that allows the director to elide moments in time. It functions as an editing tool, creating a bridge between often disparate events. However, it is also a narrative device that both compresses and stretches time, allowing for an on-screen confluence of events that at first appear to take place simultaneously or sequentially, but which actually occur over different moments or lengths of time. Yet while Ashby is not alone as a Hollywood director interested in exploring the formal possibilities that trans-diegesis might bring to his movies, film studies has begun only relatively recently to explore and analyse this technique. After briefly discussing the current critical discussion of trans-diegetic music and explicating patterns of its use in Ashby’s career, this paper explores an extended display of the strategy in the film Coming Home (1978). By interrogating its use as both narrative device and formal convention in this instance, the paper attempts both to understand trans-diegesis as a key component of Ashby’s filmmaking style and also to forge ahead in expanding the discussion of trans-diegesis within film studies.
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Magerstaedt, Sylvie. "Humility and Greatness in Damien Chazelle’s First Man." Film-Philosophy 26, no. 2 (June 2022): 130–48. http://dx.doi.org/10.3366/film.2022.0192.
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While philosophical debates about the ethical dimension of cinema have flourished over the last few decades, discussions of cinema and virtues are still limited. And, even if virtues are explored with regard to film, humility is not often the most obvious virtue that comes to mind. As this article argues, this might in part be due to humility’s lack of expressive action and its tendency to remain in the background. In addition, the wide range of philosophical views on what actually counts as virtuous humility, if it is to be considered a virtue at all, further problematises the discussion. One aspect of these disagreements is the question of humility’s compatibility with great achievement. This article aims to demonstrate both how humility can be shown on screen and reveal greatness and humility can go together in practice. For this, the author draws on contemporary philosophical accounts of the virtue of humility to examine Damien Chazelle’s 2018 film First Man, a Neil Armstrong biopic based on James R. Hansen’s biography of the same name. The article outlines how both the distinct portrayal of its main protagonist and the film’s aesthetic features, such as mise-en-scène, sound and editing, are used to convey an idea of humility that reconciles achievement, ambition and greatness with a recognition of sacrifice, serendipity and sometimes the futility of human endeavours. Consequently, First Man is not only a film about a humble main character, but also indicates how cinematic techniques can be used effectively to enable us to experience humility, thus demonstrating how films can make a distinct contribution to philosophical debates about virtues beyond mere illustration.
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Kempen, Aldo. "Two Cats, One Fish: The Animal, Leviathan and the Limits of Theory." Film-Philosophy 26, no. 1 (February 2022): 44–62. http://dx.doi.org/10.3366/film.2022.0189.
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Animals populate our artistic and philosophical discourses in critical ways. From Jacques Derrida's or Karen Barad's cat, to Donna Haraway's dog, to the fish in Lucien Castaing-Taylor and Véréna Paravel's Leviathan (2012), these animals feature heavily in discussions regarding limits – the limits of the human and thus its relation with non-humans, but also the limits of knowledge itself. Cute or dangerous, real or fantasised, dead or alive: in this article, I juxtapose the various ways that such animals confront us with what Jacques Derrida describes as “the point of view of the absolute other”. Similarly, recent texts stage encounters with animals – thus distributing agency towards a larger variety of beings, carving out space for a previously excluded non-human other. Yet these encounters are mediated in profoundly different ways. In researching how encounters with the animal are differentially inflected and “defracted” respective to the medium in which they are staged, this article invokes questions of form and style within the critical dialogue that attempts to centre non-human animals. Highlighting how formal decisions are not accidental, but rather integral, to the praxis of the philosophy of animality, this article aims to draw attention to how specific forms and styles allow for a moment of contact with a non-human other. To this end, this article examines three oft-cited encounters: Derrida's encounter with his cat, an intense stare with a fish in Leviathan, and Barad's inflection of Schrödinger's cat. This juxtaposition gives insight into the (ethical) limits of certain styles of producing thought and critically reflects on these works in their discussion of non-human life and agency.
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Kim, Darae, Dina Iordanova, and Chris Berry. "The Busan International Film Festival in Crisis or, What Should a Film Festival Be?" Film Quarterly 69, no. 1 (2015): 80–89. http://dx.doi.org/10.1525/fq.2015.69.1.80.
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Former Busan International Film Festival curator Darae Kim, and film scholars Dina Iordanova and Chris Berry engage in a discussion of the Busan International Film Festival. BIFF’s nineteenth edition was held in October 2014 and screened 312 films from 79 countries to 226,473 audience members. Despite such outward signs of success and continued growth, the festival is now undergoing a crisis that is threatening its future, on the eve of its twentieth anniversary. Are such difficulties specific to Busan, or do they indicate a more general trend that results from new configurations in the public space of cinema and new managerial approaches to culture at large? This dossier combines a report on the Busan International Film Festival crisis with larger questions regarding film festivals. Three short essays consider the Busan festival situation from different perspectives, followed by a conversational exchange that aims to spur further thinking.
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Helda, Trisna, Wahyudi Rahmat, and Silvia Marni. "Innovative Way to Improve Learning Languange and Cultural Understanding Through Film Background Minangkabau Culture." INTERNATIONAL JOURNAL OF LANGUAGE PEDAGOGY 1, no. 2 (November 23, 2021): 85–91. http://dx.doi.org/10.24036/ijolp.v1i2.15.
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This article discusses how films set in Minangkabau culture can be used as an effective platform to enable students to understand Minangkabau culture and the target language. Through films, students broaden their understanding of culture, language, geography, sociolinguistics, socioeconomic, socio-political and educational in Minang society. This article describes how a small number of films set in Minangkabau culture have been used at different skill levels in language programs in schools as one of the local content subjects, especially schools located in West Sumatra with the majority of the Minang community. It also examines the role of films in the teaching and learning process, and how watching films strengthens classroom activities such as discussions, and debates and activities outside the classroom such as interviews and research on topics related to the films. To explore student feedback on this process, there was a discussion about responses to watching the film. It is proposed that three main issues need to be considered: film choice; development of lesson plans; and possible efficiency is obtained by asking students to watch movies. In conclusion, it is argued that the combination of these strategies demonstrates how films set in Minangkabau culture can be used in innovative ways to teach Minang language and culture in West Sumatra. Development of lesson plans; and possible efficiency is obtained by asking students to watch movies.
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CAO, C. H., M. YANG, and S. Z. YANG. "A DISCUSSION ON SPIN-POLARIZED QUASIPARTICLES INJECTION." International Journal of Modern Physics B 19, no. 01n03 (January 30, 2005): 487–89. http://dx.doi.org/10.1142/s0217979205028876.
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The spin-polarized quasiparticles injection in YBCO film has been studied by means of current injection into NdSrMnO / SrTiO / YBaCuO heterostructures. Six injection junction windows are all 56μm wide, but 80μm, 40μm, 20μm, 10μm, 5μm, and 2μm long, respectively. Under I inj=0.5 Ma , injection efficiency η increases gradually with the decrease of injection junction length L, but η hardly varies when L is less than 20ηm. ηmax is more than 6. These experiment results are related with the spin diffusion length of spin-polarized quasiparticles in a-b plane of YBCO film. "Current-adding principle" would be used carefully to explain the experiment phenomena.
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Astorino, Claudia Maria. "Cinema and Tourism." Revista Turismo em Análise 30, no. 3 (December 20, 2019): 539–61. http://dx.doi.org/10.11606/issn.1984-4867.v30i3p539-561.
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It is not a recent phenomenon that films encourage viewers to visit the places where they are set. This movement is called film-induced tourism and it has been gaining more and more studies and supporters. The associations that can be established between cinema and tourism, however, go far beyond this type of tourism, and this essay intends to present one of these associations: the one that investigates how films can be tools for teaching and learning in a Bachelor’s Degree in Tourism Course. With this scope, an eclectic study corpus was carried out, from which 40 films were selected in order to stimulate the discussion about the tourism practice. To optimize this discussion, topics that cover tourism market segmentation, tourism elements, jobs in the tourism industry, film-induced tours and the relationship between tourists and residents were established. The analysis of the findings showed that the films discussed along this essay can be used in the scope of different subjects in the context of Tourism undergraduate courses, as tools to illustrate and debate various aspects of the tourism activity.
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Hunt, Kevin. "Michel Serres, Topology and Folded Time in Christopher Nolan's Dunkirk." Film-Philosophy 26, no. 3 (October 2022): 308–30. http://dx.doi.org/10.3366/film.2022.0203.
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This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument.
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Steven, Mark. "Nietzsche on Film." Film-Philosophy 21, no. 1 (February 2017): 95–113. http://dx.doi.org/10.3366/film.2017.0033.
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This article tracks the many appearances of Friedrich Nietzsche throughout the history of cinema. It asks how cinema can do Nietzschean philosophy in ways that are unique to the medium. It also asks why the cinematic medium might be so pertinent to Nietzschean philosophy. Adhering to the implicit premise that, as Jacques Derrida once put it, ‘there is no totality to Nietzsche's text, not even a fragmentary or aphoristic one,’ the essay's mode of argument avoids reductive totalization and instead comprises a playful sampling of variously Nietzschean manifestations across dissimilar films. It begins with an extended account of Baby Face, a 1933 drama from which the abundant references to Nietzsche were either altered or expunged ahead of theatrical release. It then maps some of the philosophical consistencies across two genres in which characters read Nietzsche with apparent frequency: the comedy and the thriller. While comedies and thrillers both treat Nietzsche and his readers with suspicion, and do so for perceptive historical reasons, the essay then asks what an affirmatively Nietzschean film might look like. It explores this possibility through a discussion of cinematic animation in general and then more specifically via several critically familiar films that self-consciously evolve their aesthetic through Nietzsche's philosophy. The essay concludes by affirming Béla Tarr's final film as one of the medium's greatest realizations of a Nietzschean film-philosophy. The Turin Horse, released in 2011, is exemplary because it takes Nietzsche as a narrative premise only to sublate that premise into a unique visual style.
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Permana, Rangga Saptya Mohamad, Lilis Puspitasari, Sri Seti Indriani, and Hanny Hafiar. "STRATEGI KOMUNIKASI PEMASARAN FILM INDIE: MODEL PEMASARAN DAN DISTRIBUSI FILM INDIE INDONESIA." Journal of Urban Society's Arts 5, no. 2 (March 6, 2019): 74–86. http://dx.doi.org/10.24821/jousa.v5i2.2120.
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AbstrakFilm independent atau yang lebih akrab disebut dengan film indie secara umum adalah film yang diproduksi di luar major label atau perusahaan/production house (PH) film besar. Karena tidak dipasarkan melalui jalur distributor komersial, maka para sineas film indie harus cerdas dan intuitif dalam mencari peluang-peluang untuk memasarkan karya mereka kepada khalayak luas. Hal inilah yang menarik minat penulis untuk melakukan riset mengenai strategi komunikasi pemasaran film indie Indonesia. Berdasarkan uraian tersebut, maka tujuan dari penelitian ini adalah untuk mengetahui strategi komunikasi pemasaran film indie Indonesia. Teknik wawancara, observasi, studi pustaka dan Focus Group Discussion (FGD) digunakan untuk mengumpulkan data-data riset yang dibutuhkan. Penulis telah melakukan wawancara dan FGD dengan beberapa produser, sutradara dan aktivis/pengkaji film indie di 3 kota besar di Indonesia (Yogyakarta, Jakarta dan Makassar). Hasil riset menunjukkan bahwa mayoritas para sineas film indie di Indonesia menjadikan festival-festival film (baik nasional maupun internasional) sebagai media pemasaran utama bagi karya-karya mereka. Selain menggunakan festival film sebagai ajang promosi, para sineas film indie Indonesia juga menggunakan beberapa media/cara lain, yaitu melalui ruang putar alternatif, media sosial, website yang memasarkan film-film alternatif, digital TV platform, roadshow, dan melalui press screening.Kata Kunci: Film; Indie; Komunikasi; Pemasaran AbstractMarketing Communication Strategy of Indie Film: Marketing Model and Distribution of Indonesia Indie Film. Independent films or more familiarly referred to indie films in general are films produced by non-major label or company/production house (PH). Since it is not marketed through a commercial distributor line, indie filmmakers must be smart and intuitive in searching for opportunities to promote their work to a wide audience. The authors interested to do research on the marketing communication strategy of Indonesia indie films. Based on the description, the purpose of this research in this article is to explore the marketing communication strategy of Indonesia indie films. The authors has conducted interviews and FGDs with several producers, directors and indie film activists/reviewers in three cities in Indonesia (Yogyakarta, Jakarta and Makassar). The research results show that Indonesian’s indie filmmakers utilises film festivals (both national and international) as the main marketing medium for their works. In addition, indie film producers also use alternative media, such as social media, websites, digital TV platforms, roadshows, and through press screening.Keywords: Film; Indie; Communication; Marketing
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Pautz, Michelle C. "Cops on Film: Hollywood’s Depiction of Law Enforcement in Popular Films, 1984–2014." PS: Political Science & Politics 49, no. 02 (April 2016): 250–58. http://dx.doi.org/10.1017/s1049096516000159.
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ABSTRACTWith numerous recent incidents in which law-enforcement officers played a role in the deaths of citizens, there is a renewed focus on cops and their actions. Part of that discussion is related to the nation’s preconceived notions of cops and where those ideas might originate. Popular culture contributes to those images; this study explores one source of those images: film. More specifically, it investigates the image of law enforcement on the silver screen from 1984 through 2014. With a sample of 34 films and more than 200 cop characters, this study finds a mixed general depiction of law enforcement in movies but a positive depiction of individual cop characters. The prevalent descriptor of those characters was good, hard-working, and competent law-enforcement officers. This exploratory study informs broader discussions about the images of cops found in popular culture.
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Mohamad Rasit, Rosmawati, and Nur Hazriani Razali. "Phenomenological Study of Shariah-Compliant Films as Da’wah Medium." Ulum Islamiyyah 23 (April 1, 2018): 1–11. http://dx.doi.org/10.33102/uij.vol23no0.15.
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The discussion of Shariah compliance in film provides the opportunity for the delivery of the message of da’wah (Islamic evangelism) through filmart. Nevertheless, the term sharia compliance in the film field is a newly discussed matter compared to sharia compliance in the banking system. Therefore, this study aims to analyze film audience’s perception towards the concept of sharia compliance. This study also examined the role of sharia compliance film as the medium of da’wah. It employed the phenomenology design that involved sampling with the aims to obtain study respondents. The 10 samples were UKM undergraduate and postgraduate Muslim students who like watching Malay films. The data were collected via focussed group discussion. This study employed constant comparative analysis in comparing data that convey meaning in answering the questions and objectives of the study. The findings showed that from the audience’s perception regarding sharia compliance, there were two categories of audience, which are negotiated reading and oppositional reading in interpreting meaning. The findings stated the respondents’ perception regarding the concept of sharia compliance that was discussed - ‘’Actions in film, socializing limit...the acting should preserve them but not too stiff...for example the scene where husband and wife sleeping together on a bed should be avoided. Frankly, the absent of such scene does not flaw the film.’’ The findings also found that the respondents agreed with the role of sharia compliance film as the medium of da’wah. It is hoped that this study contributes clarity to filmmakers regarding the concept of sharia compliance that could take center stage in da’wah film in Malaysia
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Öztürk, Ridade. "Sufism in Cinema: The Case of Bab'Aziz: The Prince Who Contemplated His Soul." Film-Philosophy 23, no. 1 (February 2019): 55–71. http://dx.doi.org/10.3366/film.2019.0098.
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This article presents a discussion of key aspects of knowledge in Sufism through an analysis of the film Bab’Aziz: The Prince Who Contemplated His Soul (Nacer Khemir, 2005). The dominant Western perspective argues for the necessity of a rational, objective form of knowledge which is based on logical argument and precepts. This perspective, however, fails to recognize the alternative form of experiential knowledge which lies at the heart of the Sufi tradition. In this respect, Bab'Aziz is an important film because its content and its narrative technique is an expression of certain knowledge, knowledge without doubt, and kashf, unveiling or discovery. This article compares knowledge in Sufism (Tasawwuf) to the concept of knowledge in the Western tradition, and argues for a reconsideration of the meaning of philosophy as understood by the Ancient Greeks.
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Figat, Katarzyna. "Hearing Films: A Contribution to the Discussion on Film Sound and Music Education." Panoptikum, no. 18 (December 29, 2017): 120–34. http://dx.doi.org/10.26881/pan.2017.18.08.
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The paper presents a comprehensive overview of the issues of the broadly defined audial education (how to listen), with special regard to its meaning in the need of film education. Beginning with comments on the specificity of contemporary audiovisual culture and on the role of education in the matters of listening (including music education) in general as well as professional education, the author analyses the consequences of this state concerning incomplete film perception and interpretation resulting from underestimating the role of its audial layer. In the second part of the article the author points to and describes certain important initiatives aimed at the improvement of the previously shown negative situation.
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Et.al, Poonam Pichanot. "Portrayal of Women from Stereotype to Empowered in Film Studies." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 3282–87. http://dx.doi.org/10.17762/turcomat.v12i3.1577.
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Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity
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Mutiara, Gea, Sri Mulyati, and Marsandi Manar. "CLASS CONFLICT IN PARASITE FILM USING MARXIST CRITICISM." Akrab Juara : Jurnal Ilmu-ilmu Sosial 7, no. 2 (May 5, 2022): 180. http://dx.doi.org/10.58487/akrabjuara.v7i2.1834.
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For a long time, films have taken responsibility to spread cultural diversity, information and entertainment. It can be a medium to portray philosophical discussion and arguments, like class conflict. The writer analysis a film entitled “Parasite” by Bong Joon-ho. This film was published in 2019 and became one of the most popular films of the year. The purpose of this research is to understand the matter of class conflict that arises in Parasite film. The research method used is descriptive qualitative to dissect in detail the problem. According to issues that happened in the Parasite film, this research uses Marxism theory by Karl Marx and Friedrich Engels. For further analysis, the writer analyses the relation of narrative and cinematic structure, so class discrimination that occurs in the film can be more portrayed. The result of this research show that the theme of this film describes about hope of the- working-class to improve their live inside capitalism society. At the end, the theme of hope portrayed in a letter, imagining a better life for a working-class family, even after all they have experienced.
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Chen, Chunyan. "Discussion on the Generation and Incorporation of Female Subjects in Mirror Double Heroine Films." Scientific and Social Research 3, no. 4 (October 29, 2021): 175–80. http://dx.doi.org/10.36922/ssr.v3i4.1218.
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In recent years, films with two female heroines appear frequently. The two female heroines mirror each other and construct the blooming subject in observation. Through the plot of rebellious girl’s death, the film makes the subject become a visible social subject in submission. This plot setting reflects the existence of discipline power in the film. Power marks a specific behavior as “deviant,” and relies on the public display of the punishment of deviant, as well as realizes the repeated indoctrination of discipline code in the audience through the reuse of the audience’s desire of “to be.” Audience identity ensures the smooth incorporation of power to the audience subject. The double female master setting seems to give freedom to the role and the audience, but the appearance of this freedom is the locus of power. The audience’s deviant viewing may break through in the ruins of the repeated process.
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Ruffino, Francesco, and Maria Grazia Grimaldi. "Nanostructuration of Thin Metal Films by Pulsed Laser Irradiations: A Review." Nanomaterials 9, no. 8 (August 6, 2019): 1133. http://dx.doi.org/10.3390/nano9081133.
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Metal nanostructures are, nowadays, extensively used in applications such as catalysis, electronics, sensing, optoelectronics and others. These applications require the possibility to design and fabricate metal nanostructures directly on functional substrates, with specifically controlled shapes, sizes, structures and reduced costs. A promising route towards the controlled fabrication of surface-supported metal nanostructures is the processing of substrate-deposited thin metal films by fast and ultrafast pulsed lasers. In fact, the processes occurring for laser-irradiated metal films (melting, ablation, deformation) can be exploited and controlled on the nanoscale to produce metal nanostructures with the desired shape, size, and surface order. The present paper aims to overview the results concerning the use of fast and ultrafast laser-based fabrication methodologies to obtain metal nanostructures on surfaces from the processing of deposited metal films. The paper aims to focus on the correlation between the process parameter, physical parameters and the morphological/structural properties of the obtained nanostructures. We begin with a review of the basic concepts on the laser-metal films interaction to clarify the main laser, metal film, and substrate parameters governing the metal film evolution under the laser irradiation. The review then aims to provide a comprehensive schematization of some notable classes of metal nanostructures which can be fabricated and establishes general frameworks connecting the processes parameters to the characteristics of the nanostructures. To simplify the discussion, the laser types under considerations are classified into three classes on the basis of the range of the pulse duration: nanosecond-, picosecond-, femtosecond-pulsed lasers. These lasers induce different structuring mechanisms for an irradiated metal film. By discussing these mechanisms, the basic formation processes of micro- and nano-structures is illustrated and justified. A short discussion on the notable applications for the produced metal nanostructures is carried out so as to outline the strengths of the laser-based fabrication processes. Finally, the review shows the innovative contributions that can be proposed in this research field by illustrating the challenges and perspectives.
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Horio, Masao. "Development of Planar Orientation in Polymer Processing." International Polymer Processing 1, no. 1 (March 1, 1986): 4–11. http://dx.doi.org/10.1515/217.860004.
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Abstract A critical discussion is presented of the development of planar orientations in various polymer processing operations. These include tubular blown film and subsequently drawn and multiply stretched blown films. The response of polyethylene, various nylons, poly(ethylene ter ephthalate), cellulose and poly(p-phenylene terephthalamide) are discussed.
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Amalia, Eka Rizki, Nurulazizah Ria Kusrini, and Pungky Ramadhani. "Using Films to Teach Listening Comprehension." IJEE (Indonesian Journal of English Education) 6, no. 2 (April 28, 2020): 119–32. http://dx.doi.org/10.15408/ijee.v6i2.14531.
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ABSTRACTUsing films for classroom activities is often doubted as an appropriate and meaningful way to teach listening comprehension. Since the film is authentic material and far from pedagogical instruction, its use has rarely been paid attention to. This paper aims to prove that using film can be an alternative and effective way to teach listening comprehension. The problems which are commonly faced by the students in film viewing for listening activities and the proposed techniques along with film viewing activities are discussed further in this paper. The result of the discussion shows that using film to teach listening comprehension is motivating, enhancing and appealing for the students.ABSTRAKMenggunakan film untuk kegiatan di kelas sering diragukan sebagai cara yang berarti dan sesuai untuk mengajarkan listening comprehension. Karena film adalah materi otentik dan dianggap jauh dari konten pedagogik, penggunaan film jarang sekali diberi perhatian. Artikel ini bertujuan untuk membuktikan bahwa menggunakan film untuk kegiatan pembelajaran dapat menjadi salah satu alternatif dan cara yang efektif untuk mengajarkan listening comprehension. Artikel ini membahas masalah-masalah yang umum dihadapi oleh siswa dalam kegiatan pemutaran film, teknik-teknik untuk memutar film, dan kegiatan-kegiatan dalam pemutaran film untuk kegiatan listening di kelas. Hasil pembahasan menunjukkan bahwa menggunakan film untuk mengajarkan listening comprehension sangat memotivasi, menggugah dan menarik bagi siswa. How to Cite: Amalia, E.R., Kusrini, N. R., Ramadhani, P.(2019). Using Films to Teach Listening Comprehension . IJEE (Indonesian Journal of English Education), 6(2), 119-132. doi:10.15408/ijee.v6i2.14531
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Arouh, Melenia. "The Different Meanings of “Film Form”." Projections 14, no. 3 (December 1, 2020): 55–71. http://dx.doi.org/10.3167/proj.2020.140305.
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The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.
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Fanaqi, Chotijah, and Arti Nurdianti Chairunnisa. "Menangkal hoax melalui workshop literasi media dan bedah film “Tilik” bagi Karang Taruna Desa Karyamekar." Yumary : Jurnal Pengabdian Kepada Masyarakat 1, no. 2 (December 29, 2020): 59–67. http://dx.doi.org/10.35912/jpm.v1i2.59.
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Purpose: The aim of the media literacy workshop through the review of the Tilik film is to build awareness and understanding for Karyamekar associations in an effort to ward off hoaxes that are rife on social media. The discussion and review of this film was in the context of the implementation of Community Service which was held by the Garut University Service Team in collaboration with the Youth Organization of Karyamekar Village, Cilawu District, Garut Regency. Method: The method used is a workshop and film surgery "TILIK". Results: The results of these activities indicated that the workshop with the discussion method and providing examples of the latest cases (film review) was quite effective. This can be seen in the enthusiasm of the participants, as well as the ongoing discussion process. Conclusion: The Tilik Film Review activity has a very positive impact on the participants to foster their interest in media literacy. Keywords: Media literacy, Hoax
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Westerbeck, Ryan. "Police Brutality, Over-Policing, and Mass Incarceration in African American Film." Journal of Black Studies 51, no. 3 (December 27, 2019): 213–27. http://dx.doi.org/10.1177/0021934719895579.
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This article seeks to examine the role of the police in African American film. Looking at the last three decades of filmmaking, five films stand out as important examples for this study: Do the Right Thing, Boyz n the Hood, Set it Off, Training Day, and Get Out. These films are both consistent in the message regarding the police and African American communities, and are separated by time to demonstrate the distinct differences in how that message has been shown. An examination of the real-world relationship between the two groups is also studied, to better understand the accuracy of the films. The gendering of film and police brutality is a further discussion within the article in regard to the lack of female African American directors in Hollywood and the less frequently discussed police violence against African American women. These issues are addressed through a combination of film analysis and secondary source data on the police interaction and brutality in the African American community.