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Journal articles on the topic 'Fils de discussions'
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Charton, Laurence, Denise Lemieux, and Françoise-Romaine Ouellette. "Le désir d’enfant exploré à travers les pratiques de nomination." Anthropologie et Sociétés 41, no. 2 (December 12, 2017): 157–73. http://dx.doi.org/10.7202/1042319ar.
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Dans les sociétés occidentales, nommer l’enfant nouveau-né est aujourd’hui une responsabilité dévolue aux parents signataires de la déclaration de naissance, c’est-à-dire à ceux qui ont désiré que cet enfant devienne leur fils ou leur fille. Ce sont eux qui doivent lui transmettre un nom de famille et choisir les prénoms lui conférant une identité propre. À partir de l’analyse de 25 témoignages de parents québécois recueillis en entrevues, cet article explore le lien étroit établi entre désir d’enfant, filiation et nomination. L’analyse des récits sur l’histoire du couple, sur la naissance d’un premier enfant et sur les discussions entourant sa nomination aide à comprendre le sens que les parents donnent à l’enfant et à sa venue, et révèle que ce choix reflue parfois sur le choix du prénom.
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Faubert, Zoé, and Georgette Goupil. "Perceptions de pères vivant avec un fils ou une fille adulte ayant une déficience intellectuelle sur la transition de l’après-parents." Canadian Journal on Aging / La Revue canadienne du vieillissement 38, no. 4 (July 22, 2019): 468–80. http://dx.doi.org/10.1017/s0714980819000151.
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ABSTRACTWith the increase in life expectancy, many people with intellectual disabilities (ID) are living in the family home with their parents. This research focuses on the experience of 17 fathers of adults with ID. These fathers answered a questionnaire including open and closed questions. During the individual interview, fathers described their motivations to cohabit with their son or daughter, cohabitation benefits and constraints, housing options considered and planning for the future. Results indicate that fathers chose this cohabitation. However, they experience anxiety because they do not know who will support the adult with ID when they can no longer do so. Postparental planning considerations include legal concerns and informal discussions with siblings or the extended family. These results describe a complex parental situation in which there is interaction between their emotions, their attachment to the adult with ID and their previous experiences with residential, social or rehabilitation services.
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Cánepa, Laura Loguercio, and Alfredo Suppia. "Perspectivas sobre o cinema amador de ficção no Brasil: o caso das “bordas”." Revista Laika 2, no. 4 (October 23, 2013): 76–91. http://dx.doi.org/10.11606/issn.2316-4077.v2i4p76-91.
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This paper discusses the concept of amateur fiction film (Shand 2013) under the perspective of borderline cinema (Lyra 2009). The purpose of this discussion is to offer different ways of mapping the Brazilian audiovisual production in order to attain a more comprehensive and inclusive history of the Brazilian independent film scene. In this sense, borderline cinema, as both a genre and a method of approach, will be related to the history of Brazilian amateur film (Foster 2010; Foster 2013) and to discussions of amateur fiction films worldwide (Edmonds 2013; Craven 2013).
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De Andrade, Larissa Carolina. "“Gostava de surpreender o passado no fundo de cada instante”: diálogos entre história e ficção em Os Mandarins." Revista Leitura, no. 65 (March 26, 2020): 48–58. http://dx.doi.org/10.28998/2317-9945.202065.48-58.
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O objetivo deste artigo é refletir sobre a possível leitura de Os Mandarins, de Simone de Beauvoir, como se romance histórico. Para tanto, a orientação teórica parte de discussões encontradas principalmente em Ricoeur (2010), Mignolo (1993) e Weinhardt (2011; 2015). A noção de tempo histórico é concebida pela apropriação do tempo pretérito e pelo modo como esse tempo é figurado na instância ficcional, marcando a vivência das personagens e condicionando a ação romanesca. Beauvoir refigura os tempos do passado no presente, e nele entrecruza a possibilidade de uma relação entre a história e a ficção. Isto é, Os Mandarins rompe com a premissa de que o discurso que se enquadra na convenção de ficcionalidade tem as relações entre discurso e mundo cortadas; assim como aquele que se enquadra na convenção de veracidade assumiria uma relação de correspondência entre o discurso e o mundo. Os fios do romance são seguramente tramados ao longo de mais de 700 páginas, desenhando cenas de uma França pós-guerra sob o olhar dos intelectuais parisienses. Os acontecimentos e personagens são tão irreais (pertencentes, nesse momento, ao mundo da ficção) quanto verdadeiros (fizeram parte, num outro momento, da realidade empírica). Os fios de tais convenções entrecruzam-se, portanto. J’aimais surprendre le passé au fond de chaque instant: dialogue entre l’histoire et la fiction dans Les MandarinsL’objectif de cet article est de réfléchir sur la possible lecture de Les Mandarins, de Simone de Beauvoir, comme si roman historique. Pour ça, l’orientation théorique c’est à propos des discussions fait par Ricoeur (2010), Mignolo (1993) et Weinhardt (2011; 2015). La notion de temps historique est conçue par l’appropriation du temps passé et par la manière comme ce temps est figuré dans l’instance fictionnelle, en marquant l’expérience des personnages et en conditionnant l’action romanesque. Beauvoir refigure les temps du passé dans le présent, et y croise la possibilité d’une relation entre l’histoire et la fiction. C’est-à-dire, Les Mandarins rompt avec la prémisse de que le discours qui correspond à la convention de fictionalité coupe les relations entre les discours et le monde ; ainsi comme celui qui correspond à la convention de véracité a une relation directe entre le discours et le monde. Les fils du roman sont tissés sur plus de 700 pages, en désignant des scènes d’une France de l’après-guerre sous les yeux d’intellectuels parisiens. Les événements et les personnages sont aussi irréel (appartenant, maintenant, au monde de la fiction) que vrais (ils faisaient partie, dans autre moment, de la réalité empirique). Les fils de telles conventions se croisent donc. DOI: 10.28998/2317-9945.2020n65p48-58
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Roy, Carole, and Lindsay McVicar. "Screening Inspiration." Journal of Festive Studies 4, no. 1 (February 23, 2023): 101–15. http://dx.doi.org/10.33823/jfs.2022.4.1.131.
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Documentary film festivals foster critical thinking and media literacy, exposing problems while also announcing possibilities (Paulo Freire). Attendees report gaining information and some claim perspective transformation from attendance at documentary festivals. Given such impact, documentary films were showed in carceral settings for some years before a research project examine the learning from a series of documentary film screening and group discussion with women in a carceral institution. Participants reported appreciation of the informal learning opportunities. They identified being inspired by seeing stories of people facing adversity and individually or collectively courageously challenging the situations they faced. Documentary films and the following discussions provided a liminal space where the participants claimed some respite from feeling incarcerated as they felt they were no longer ‘in prison’ during the weekly film screenings.
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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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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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Anderson, Dana D. "Using Feature Films as Tools for Analysis in a Psychology and Law Course." Teaching of Psychology 19, no. 3 (October 1992): 155–58. http://dx.doi.org/10.1207/s15328023top1903_6.
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Two types of in-class discussions using feature films to stimulate discussion in a law and psychology course are described. In the first discussion, students identify legal doctrines and research findings relevant to the films, and they critique the accuracy of the films' representation of this material. The second discussion requires students to analyze the psycholegal issues the films evoke, critique the films' presentation of the issues, and evaluate their impact on the students' own positions. Participation in the discussions is intended to increase active learning and improve critical thinking. Using films may also improve students' perspective-taking skills. The subjectivity of films is one source of their attractiveness as teaching tools, but it also poses some educational risks.
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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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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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Rudy, Rudy. "READING SIGNS IN FILMS THROUGH BARTHES’ SEMIOTICS." JOLALI: Journal of Language and Literature 2, no. 1 (January 22, 2024): 5–11. http://dx.doi.org/10.35842/jolali.v2i1.13.
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Discussions on films cannot be separated from their roles as media of entertainment as well as learning. Thus, film is significant to be studied as a research object. One of the approaches commonly used to interpret films is semiotics. This study focuses on how semiotic theory is applied or used to observe and interpret signs in films and its use to help people such as students, lectures, etc, especially those who intend to deepen their knowledge in humanities films, By collecting reference sources relevant to films and semiotics from journals and books as data, the results of this literature study explained that films can be interpreted by applying Barthes’ semiotic theory in a way that elements in films such as scenes, plots, dialogs, characters, etc. were observed to show signifiers, signified and sign. The results of discussion also suggested that the semiotic approach generally considers or treats all phenomena as signs that can represent or create a meaning through understanding myths and connotations.
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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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Ngouo, Herbert Rostand. "Evaluating the pertinence of foreign languages (German, Spanish, Arabic, Chinese, Italian) in Cameroon’s education curriculum: needs for reform of the curriculum and language in education policy." Journal of the Cameroon Academy of Sciences 18, no. 1 (August 16, 2022): 361–88. http://dx.doi.org/10.4314/jcas.v18i1.6.
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The ongoing debate regarding the decolonisation of Africa should focus primarily on the domain of education, as ideologies about languages are reflected, implemented and reproduced in the language in education policy (LIEP) of a country. Most African countries have inherited the Western model of LIEP giving primacy to ex-colonial languages as official languages and as languages of education, media, and administration. Some countries, like Cameroon (host to more than 270 African languages), have gone beyond preferring French and English as a medium of instruction, and have added more foreign languages (German, Spanish, Chinese, Italian, and Arabic) in secondary schools and universities, to the detriment of national languages. Most studies on language policy address the issue of language as a medium of instruction and neglect to critically evaluate the pertinence and relevance of the generalised teaching/learning of foreign languages in schools and universities in Cameroon. This study looks at the connection between the teaching of foreign languages and the transnational aspirations of Cameroonians. The data were collected from discussions on two Facebook threads questioning the topic, discussions with lecturers of foreign languages at universities, and a meta-synthesis analysis of existing statistics about international migration for educational purposes. The findings reveal that there inbound international migration flux is associated with language but is not the most crucial factor. As a result, the study suggests either suppressing the generalised teaching of foreign languages in the francophone subsystem of education and setting up a public-private partnership or at least suppressing the Spanish and Italian languages whose knowledge has not provided any direct benefit for the majority of the learner. The cost of running those languages is not equivalent to the return.
Le débat en cours sur la décolonisation de l’Afrique devrait mettre l’éducation au centre. En effet, les idéologies sur les langues sont reflétées, mises en oeuvre et reproduites dans la politique linguistique de l’éducation (LIEP) d’un pays. La plupart des pays africains ont hérité des politiques linguistiques donnant la primauté aux langues ex-coloniales comme langues officielles et comme langues de l’éducation, des médias et de l’administration. Certains pays, comme le Cameroun (regorgeant plus de 270 langues), sont allés au-delà. Préférant le français et l’anglais comme langue d’enseignement, le Cameroun a ajouté des langues étrangères (allemand, espagnol, chinois, italien et arabe) dans les établissements secondaires et les universités, au détriment des langues nationales. La plupart des études sur les politiques linguistiques abordent la question de la langue comme moyen d’enseignement et négligent d’évaluer de manière critique la pertinence de l’enseignement/apprentissage généralisé des langues étrangères dans les écoles et les universités au Cameroun. Cette étude s’intéresse au lien entre l’enseignement des langues étrangères et les aspirations transnationales des Camerounais. Les données ont été recueillies à partir de discussions sur deux fils de commentaires Facebook portant sur le sujet, des échanges avec des enseignants de langues étrangères dans des universités et d’une analyse méta-synthétique des statistiques existantes sur la migration internationale à des fins éducatives. Les résultats révèlent que le flux migratoire international entrant est associé à la langue mais la langue n’est pas le facteur le plus déterminant. En conséquence, l’étude suggère une réforme des curricula conduisant à la suppression de l’enseignement généralisé des langues étrangères dans le sous-système éducatif francophone. En revanche si cette option extrême n’est pas envisagée, il faut supprimer les langues espagnole et italienne dont la connaissance n’a apporté aucun bénéfice direct à la majorité des apprenants.
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Skorin-Kapov, Jadranka, and Martin Benson. "Teaching Business Ethics Through Narrative Film." Journal of Business Ethics Education 15 (2018): 185–202. http://dx.doi.org/10.5840/jbee2018159.
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We address the question: what can experience of narrative film bring to a business student? The medium of narrative film allows discussions of ethical issues, as well as discussions of film as a product in terms of its artistic creativity versus its business goal and its marketing of an underlying ideological position. Hence, we look at films from philosophical (ethical), aesthetic (artistic), and business perspectives. We describe the effort and the outcome of delivering a new course in the business undergraduate program at the College of Business at Stony Brook University in New York, USA. The course was entitled Ethics: Critical Thinking through Film and it was designed to address various business and societal problems through narrative films. A diverse set of films allowed us to discuss questions about problems facing contemporary society, as well as ethical issues arising in business, including workforce ethics, greediness, bribery, whistle-blowing, and fraud.
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Tsang, Gabriel F. Y. "Masculine Performance in Hong Kong Crime Films from Post-Bruce to the 2000s." Asian Journal of Humanity, Art and Literature 4, no. 2 (December 31, 2017): 73–82. http://dx.doi.org/10.18034/ajhal.v4i2.319.
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Masculinity, in Lacan’s sense, is an imagination. To specifically theorise Chinese masculinity, Kam Louie examined the elements of wen (cultural attainment) and wu (martial valour) rendered through historical or artistic images, and Song Geng and Derek Hird guide the discussions about Chinese manhood represented in everyday life. With a Marxist perspective, Lo Kwai Cheung illustrated the dissolvability of Chinese masculinity under international capitalism. With reference to Aristotle, it is supposed that Chinese masculinity, similar to ‘tragicity’ in nature, can be represented through imitating actions and hence be perceived. Based on Aristotle’s understanding, we can regard actions as ‘iterable’ media (like Derrida’s understanding of written texts) which engender performances according to the genealogy of quantitative mimesis.
Integrating theoretical discussions with a chronological approach, my full paper will go through following points in order to summarise the changes in Hong Kong crime films from the post-Bruce Lee era to the 2000s: (1) Hong Kong crime film inherited the martial side of masculinity from action films and became a popular genre since A Better Tomorrow was well received in the mid-1980s. (2) Many directors diversified the interpretation of crime in the late 1980s and the 1990s, but remained a focus on the strength, nimbleness and boldness of men. (3) After the decline of Hong Kong film industry for several years, Infernal Affairs’s success renewed the representation of manhood. (4) From the 2000s to now, male characters in crime films are preferably intelligent and wisely-romantic, like the fragile scholar in ancient China. (5) While globalisation seems to be eliminating the Chineseness of Chinese masculinity, I argue that geographical specificity and different speed of cultural development lead to the impossibility of synchronic masculine similarity. (6) Through a brief discussion concerning Hollywood’s adaptation of Hong Kong films, I argue that local masculinity is not transformable.
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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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Li, Jiaming. "The Application of VR Technology in Film Production." Highlights in Science, Engineering and Technology 57 (July 11, 2023): 305–10. http://dx.doi.org/10.54097/hset.v57i.10018.
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In recent years, with the continuous maturity of virtual reality technology, the scope of application in various fields has been expanding. VR technology has gradually moved to the film industry. Since 2014, VR technology has become a new round of discussion and practice in the film industry. This paper will conduct an in-depth discussion on the production status and influence of VR films from three aspects: the actual production of VR films, the challenges VR technology brings to the current film industry, and the prospect of VR technology application in the film industry. This paper also researches the practical application and influence of VR technology in film production. The future development prospect of VR in film is discussed and analyzed, and the relevant conclusion and summary are made at the end of the article.
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Gómez, Oscar A. "Alternative views of security in Latin America: Towards a global contribution to human security." Regions and Cohesions 5, no. 1 (March 1, 2015): 26–53. http://dx.doi.org/10.3167/reco.2015.050102.
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This article analyzes the peripheral role of Latin America in global discussions about human security. The main hypothesis is that proposals for opening security theories and practices to a “human vision” failed to merge with the evolution of security concepts and institutions in the region over the last twenty years. Hence, there is no constructive communication interface between citizen and human security activities that inform security practices in the medium and long term. This article describes two approaches: (a) the slow development of human security concepts that may be somehow useful to the region due to (b) the positioning of citizen security as an alternative security paradigm in Latin America. Following a conceptual and institutional review of these approaches, the article concludes with some proposals to establish a dynamic and effective bridge between these two visions. Spanish El presente artículo analiza el papel periférico de Latinoamérica en las discusiones mundiales sobre el concepto/enfoque de seguridad humana. La hipótesis de trabajo es que las propuestas para abrir la teoría y práctica de seguridad en la región a la visión humana no han logrado acoplarse a la evolución en las concepciones e instituciones de seguridad durante los últimos veinte años; por tanto, no existe una interface constructiva de comunicación entre lo ciudadano y lo humano que informe el quehacer en seguridad en el mediano y largo plazo. El estudio describe dos hilos conductores: (a) el lento desarrollo de versiones elaboradas del concepto de seguridad humana que resulten útiles a las sociedades de la región, en parte producto de (b) el posicionamiento de la seguridad ciudadana como el paradigma alternativo de seguridad en América Latina. Después de hacer una revisión de estos hilos en lo conceptual e institucional, el artículo cierra con algunas propuestas para establecer un puente más dinámico y efectivo entre las dos visiones. French Cet article analyse le rôle périphérique de l'Amérique latine dans le débat mondial sur le concept / approche de la sécurité humaine. L'hypothèse de travail est que les propositions visant à ouvrir la théorie et la pratique de la sécurité dans la région à la vision humaine ont échoué à engager l'évolution des concepts et des institutions de sécurité au cours des ces vingt dernières années; par conséquent, il n'existe pas d'interface de communication constructive entre le citoyen et l'activité humaine à informer sur les initiatives de sécurité dans le moyen et long terme. L'étude décrit deux fils conducteurs: (1) la lenteur du développement des versions du concept de sécurité humaine élaborées qui sont utiles aux entreprises dans la région, en partie le produit de (2) la conception de la sécurité « citoyenne » comme un paradigme alternatif de la sécurité en Amérique latine. Après un examen de ces discussions sur le conceptuel et l'institutionnel, l'article se termine par quelques propositions destinées à établir un pont plus dynamique et efficient entre les deux points de vue.
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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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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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Syahfitri, Afifaturrizka, Nur Habibah, and Sri Yunita. "ANALISIS FILM SANG PEMIMPI DALAM PENANAMAN NILAI DAN MORAL SISWA." JS (JURNAL SEKOLAH) 7, no. 3 (June 16, 2023): 460. http://dx.doi.org/10.24114/js.v7i3.45508.
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Abstract : The purpose of this research is to analyze the film The Dreamer in inculcating students' values and morals. The research subjects were grade 5 students at SD Negeri 064027 Medan Polonia. The method in this study uses descriptive research with a qualitative approach. Data collection techniques using questionnaires and interviews. The results of the study can be concluded that the film Sang Pemimpi is effective in instilling students' values and morals. This is evidenced by an increase in students' understanding of values and morals after watching films and participating in discussions. In addition, films also influence students to appreciate diversity, hard work, simplicity, and honesty. The film Sang Pemimpi also succeeded in attracting students' attention with an interesting and entertaining story. This makes it easier for students to understand the moral message conveyed in the film. In the discussion after watching the film, students showed high enthusiasm and were able to analyze the values and morals contained in the film.Keyword : Film Sang Pemimpi, Values and MoralsAbstrak: Tujuan penelitian ini untuk menganalisis film sang pemimpi dalam penanaman nilai dan moral siswa. Subjek penelitian yaitu siswa kelas 5 SD Negeri 064027 Medan Polonia. Metode pada penelitian ini menggunakan penelitian deksriftif dengan pendekatan kualitatif. Teknik pengumpulan data dengan menggunakan kuesioner dan wawancara. Hasil penelitian dapat disimpulkan bahwa film Sang Pemimpi efektif dalam penanaman nilai dan moral siswa. Hal ini dibuktikan dengan peningkatan pemahaman siswa mengenai nilai dan moral setelah menonton film dan mengikuti diskusi. Selain itu, film juga mempengaruhi siswa untuk lebih menghargai keberagaman, kerja keras, kesederhanaan, dan kejujuran. Film Sang Pemimpi juga berhasil menarik perhatian siswa dengan cerita yang menarik dan menghibur. Hal ini membuat siswa lebih mudah untuk memahami pesan moral yang disampaikan dalam film. Dalam diskusi setelah menonton film, siswa menunjukkan antusiasme yang tinggi dan mampu menganalisis nilai dan moral yang terkandung dalam film.Kata Kunci: Film Sang Pemimpi, Nilai dan Moral
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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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Wen, Shike, Dongzhi Xiao, and Shiwei Yang. "Research on the Symbolic Expression of Film Visual Art Directed by Chinese Director Zhang Yimou." Communications in Humanities Research 5, no. 1 (September 14, 2023): 238–44. http://dx.doi.org/10.54254/2753-7064/5/20230234.
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As the leader of the fifth generation of directors in China, Zhang Yimou leads Chinese films to the world in the new era. He is an outstanding representative of Asian films and a world-renowned film master. This paper takes visual art as the tool and mainly studies the symbolic expression of Zhang Yimous film. The research allow readers to access the Chinese classic film symbol and Zhang Yimous personal characteristic film symbol by analogy Zhangs several films. Through the online research on Douban and Zhihu, the author made a brief appreciation of the visual language features of Zhang Yimous two films To Live and Red Sorghum with the highest score and voice.The author makes some discussions on the composition characteristics, techniques and creation style of Zhang Yimou's films. On the one hand, the author believes that Zhang Yimou and his films are deeply influenced by the structure of traditional Chinese aesthetics. Zhangs film not only display grand Chinese aesthetics in the structure of the picture, but also intersperse many unique Chinese meanings in the film. From the creative technique, Zhang is good at using scenes to foil atmosphere and allude to the characters fate. On the other hand, Zhang Yimous typical male chauvinist creation style is reflected in many aspects of his film, such as female stereotypes, improper male gaze.
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Zhao, Yuehan. "Research on Experimental Film--Based on Comparison of Experimental Film and Traditional Film." Communications in Humanities Research 9, no. 1 (October 31, 2023): 123–27. http://dx.doi.org/10.54254/2753-7064/9/20231145.
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Experimental film is an important type of cinematic expression that originated from Europe in the 20th century. The content of experimantal film is more flexible and diverse than any other cinematic form. However, people nowadays seem to prefer traditional Hollywood films than experimental films. This paper analyses on experimental films. The reasons why experimental film works are not as popular among the general public as mainstream films may involve a variety of factors, including the nature of art, audience acceptance and aesthetic habits, limitations in publicity and marketing, cultural differences and language restrictions, film industry and commercialization pressures, financial and production conditions, as well as the influence of social and cultural backgrounds. The combination of these factors may make experimental film works more limited in terms of popularity, popularity and box office performance among the general public. However, as an art form, experimental film works still have their unique value and significance. By breaking away from traditional film forms, structures and contents, experimental film works usually explore newm artistic expressions, challenge audiences aesthetic experiences, and provoke thoughts and discussions. These works may have a profound impact on niche and specific audience groups, promoting the innovation and development of film art.
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De Almeida, Rafael, and Ana Paula De Aquino Caixeta. "The soundscape in the essay film Heart of a Dog." Intexto, no. 47 (August 6, 2019): 75–88. http://dx.doi.org/10.19132/1807-8583201947.75-88.
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We aim to investigate the ways of using the soundscape in the essay film Heart of a Dog (Laurie Anderson, 2015). Methodologically we rely on the procedure of the film-based analysis focused on the soundtrack. Our research problem is dedicated to questioning how the soundscape participates in the elaboration of a reflection in development, intended by the essay films. From such discussions about our film corpus, we consider that in the essay films there is a reflexive sound-landscape, which both supports and potentiates the voice-over in its role of concretizing the ongoing thought, as well as discarding it to create new and more complex layers of meaning.
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TOVMASYAN, Nune, and Ruzan GHAZARYAN. "A PLAN OF A FILM-BASED LESSON FOR EFL STUDENTS OF INTERMEDIATE LEVEL." Foreign Languages in Higher Education 19, no. 2 (19) (February 22, 2022): 112–18. http://dx.doi.org/10.46991/flhe/2015.19.2.112.
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Language teachers have been using films in their classes for decades, and there are a number of reasons why film is an excellent teaching and learning tool. They provide students with examples of authentic English. Films can bring variety and flexibility to the language classroom by extending the range of teaching techniques and resources, helping students to develop all four communicative skills. A whole film or sequence can be used to practise listening and reading skills, and can serve as a model for speaking and writing. Films can also act as a tool for follow-up tasks such as discussions, debates on different topics, role plays, reconstructing a dialogue or summarizing. In the paper a sample of a film-based lesson with a number of activities worked out by the authors is given.
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Pautz, Michelle C. "Argo and Zero Dark Thirty: Film, Government, and Audiences." PS: Political Science & Politics 48, no. 01 (December 31, 2014): 120–28. http://dx.doi.org/10.1017/s1049096514001656.
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ABSTRACTWith the prevalence and accessibility of film today, we must wonder how film affects its audience. In particular, how does film influence an audience’s perceptions of the government? Regardless of the content, research demonstrates that film has the power to shape perceptions of its moviegoers on a range of subjects. In this study, two recent films,ArgoandZero Dark Thirty, were chosen as case studies to explore how Hollywood portrays the intelligence community in film and shapes opinions about the government more broadly. This research found that about 25% of viewers of the two films changed their opinion about the government after watching one of the movies. Additionally, many of those changes are reflected in an improvement in the sentiments about the government and its institutions. This exploratory research provokes interesting discussions about the ability of film to influence the perceptions of an audience.
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Nowicka, Urszula. "OBLIGATIONS OF PUBLIC ADMINISTRATION TO PROVIDE INFORMATION FROM THE CASE FILE." Roczniki Administracji i Prawa 1, no. XX (March 30, 2020): 169–82. http://dx.doi.org/10.5604/01.3001.0014.1433.
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The obligations of public administration to make case file available to parties to proceedings are regulated in Art. 73-74 of the Code of Administrative Procedure. The access to the file includes the form of insight into the case file, make notes based on them, make duplicates or copies and authenticating duplicates or copies of the case files or to issue certified copies from the case files, if it is justified by the important interest of the party. In turn, the refusal of access to the file is justified by the protection of classified information or important interest of the state. Based on these issues, many discussions and theories have appeared in doctrine and jurisprudence, which are analyzed in this article.
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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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Akbar, Moh Rifaldi. "Redefining Orientalism Through “Squid Game”: Sentiment Analysis And Word Cloud R Studio." Metacommunication; Journal of Communication Studies 9, no. 1 (April 1, 2024): 32. http://dx.doi.org/10.20527/mc.v1i1.18794.
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This article aims to redefine Edward Said's definition of orientalism in the era of contemporary communication and information technology through the comments column for the film Squid Game on the IMDB (internet movie database) website. This paper argues that the Orientalist attitude of a dominant English-speaking country such as the United States emerged as a consequence of its white superior hegemony. In the midst of this orientalist attitude, today's communication and information technology has become a discursive channel for the world community to conduct ongoing discussions on films by Asians. By using the text in the comment column for the film Squid Game on IMDB.com as a case example, this article provides a discussion regarding the need to rethink the conceptual definition of orientalism today. This paper uses a digital research methodology with analysis tools using R Studio with two types of analysis, namely word cloud and sentiment analysis. By utilizing the programming language functions available in R Studio, this paper mines text from the IMDB.com comments column for the film Squid Game. This article contains results obtained from digital research methods, namely the Squid Game comments column focuses on characters, plot, acting and story. Meanwhile, sentiment analysis shows the dominance of positive sentiment and some negative sentiment. Therefore, this article argues that the battle between negative and positive sentiments in the Squid Game comments column is a means of resetting the negative stigma towards Asian films and eroding the orientalist attitudes that the West oppresses towards "the East."
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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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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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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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Briam, Carol. "Outsourced: Using a Comedy Film to Teach Intercultural Communication." Business Communication Quarterly 73, no. 4 (November 22, 2010): 383–98. http://dx.doi.org/10.1177/1080569910385567.
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Given that feature films can enhance the teaching of intercultural communication, this article describes in detail how the 2006 comedy film, Outsourced , can be integrated into a course. The article relates the film to four different functions of film and shows how Outsourced can help create an intercultural experience for students, serve as the basis for a case analysis of cross-cultural adjustment, give meaning to cultural concepts, and create powerful metaphorical images to expand classroom discussions to broader issues. Also explored are ways the film can be used in teaching advanced intercultural communication concepts.
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Wang, Yanchun, and Gang Wang. "Discussion on Domestic War Films in the Post-Epidemic Era from the Perspective of Film Industry Aesthetics." Highlights in Art and Design 2, no. 1 (January 10, 2023): 1–3. http://dx.doi.org/10.54097/hiaad.v2i1.4721.
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With the development of Chinese film industrialization in recent years, the development of domestic historical war films has taken on new trends and situations. On the one hand, these films are well produced and have exquisite special effects, reflecting the extremely high industrial level and even setting new box office records; on the other hand, setting cultural confidence, tapping the treasures of traditional and local culture, making domestic war films have more Chinese spirit and temperament and better telling the Chinese story.
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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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OOTEN, MELISSA, and SARAH TREMBANIS. "Filming Eugenics: Teaching the History of Eugenics Through Film." Public Historian 29, no. 3 (January 1, 2007): 145–55. http://dx.doi.org/10.1525/tph.2007.29.3.145.
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In teaching eugenics to undergraduate students and general public audiences, film should be considered as a provocative and fruitful medium that can generate important discussions about the intersections among eugenics, gender, class, race, and sexuality. This paper considers the use of two films, A Bill of Divorcement and The Lynchburg Story, as pedagogical tools for the history of eugenics. The authors provide background information on the films and suggestions for using the films to foster an active engagement with the historical eugenics movement.
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Poisel, Rainer, Marlies Rybnicek, Bernhard Schildendorfer, and Simon Tjoa. "Classification and Recovery of Fragmented Multimedia Files using the File Carving Approach." International Journal of Mobile Computing and Multimedia Communications 5, no. 3 (July 2013): 50–67. http://dx.doi.org/10.4018/jmcmc.2013070104.
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File carving is a recovery technique which does not consider file tables or other meta-data which is used to organize data on storage media. As files can be recovered based only on their content and/or structure, this technique is an indispensable task during digital investigations. The main contribution of this paper is the description of procedures that allow for successful content-based recovery of multimedia files from their fragments. So far many approaches for the recovery of digital images have been proposed. After a short discussion of relevant representatives in this domain the authors focus on the applicability of these approaches to the recovery of multimedia files.
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Sjö, Sofia. "The Internet Movie Database and Online Discussions of Religion." Journal of Religion in Europe 6, no. 3 (2013): 358–84. http://dx.doi.org/10.1163/18748929-00603005.
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Religion and film scholars have long used the Internet Movie Database (IMDb) as a source for material on audience responses, but not much thought has been given to what the material found on the site constitutes. This article highlights possibilities and problems with researching sites such as the IMDb, discussing how studies of Internet communication, community, and fan culture can help contextualize the material and provide a better comprehension of the discussions of religion on the site. The potential of the IMDb to offer noteworthy voices on religion is exemplified with an analysis of reviews of three religiously themed Nordic films. The views on religion expressed are theorized as a form of ‘playable religion’ reflecting contemporary attitudes to religion.
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Anne Galpin, Shelley. "Auteurs and Authenticity: Adapting the Brontës in the Twenty-First Century." Journal of British Cinema and Television 11, no. 1 (January 2014): 86–100. http://dx.doi.org/10.3366/jbctv.2014.0193.
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This article examines two recent adaptations of Brontë novels and how they relate to discussions surrounding the adaptation of literary texts into film. The position of Cary Joji Fukunaga and Andrea Arnold as auteurs is considered, as is the way in which this was used in the marketing of the films prior to release. Fukunaga's Jane Eyre (2011) and Arnold's Wuthering Heights (2011) are evaluated as examples of British film-making in terms of heritage/anti-heritage discourses, concluding that while they both reject aspects of the traditional ‘heritage film’, overtly in Arnold's film but more subtly in Fukunaga's, neither can escape the notion of authenticity which is central to discussions surrounding adaptation of classic literature. Although apparently more ‘faithful’, Fukunaga's film stops short of the adherence to source material that was emphasised in the pre-release publicity, ironically suppressing Fukunaga's auteurist vision, while Arnold's more overtly auteurist vision is shown to present difficulties over the issue of authorship when adapting a ‘literary great’. Finally, the article considers the commercial and critical success of both films, noting that the status of both directors as auteurs is a selling point prior to release, but that when tackling period material it can be something of a hindrance in terms of both the commerciality and the artistic style of the piece.
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Piśniak, Monika. "Discussion of selected concepts of pointless geometries." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Filozofia 14 (2017): 283–90. http://dx.doi.org/10.16926/fil.2017.14.14.
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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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Liu, Siwei. "The Research on the Representational Strategies of Femme Fatale in Contemporary Chinese Film-noir." BCP Education & Psychology 8 (February 27, 2023): 314–22. http://dx.doi.org/10.54691/bcpep.v8i.4346.
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In 2014, Chinese director Diao Yinan’s feature Black Coal, Thin Ice wins the Golden Bear Award for Best Director at the 64th Berlin Film Festival, sparking enthusiastic discussion on the prospect of the so-called 'Chinese film-noir'. Among the classic noir elements that sparked discussion in these films, the lethal woman, or the ‘femme fatale’ stands out to be the one that attracts the most attention. In the span of a decade, the Chinese femme fatale varies quite enormously in her role in the narrative and the gender implication her relationship with the noir hero represents. This essay will build on Mark Conrad’s definition of film-noir, Jack Boozer’s categorization of femme fatale, and Elisabeth Bronfen’s tragic theory to analyze the construction of femme fatale in 2010s Chinese film noir. Equipped with these theoretical tools, this essay will focus on recent Chinese films-noirs and draw connections between their different representational strategy of the femme fatale to complete their noir narrative. This essay argues that while films like the Hunt Down (2019) and Long Day’s Journey Into Night (2018) approaches the lethal woman in the classic androcentric or even misogynist way, Black Coal, Thin Ice (2014) and the Wild Goose Lake (2019) endows her with more subjectivity and agency while complicating her relationship with the noir hero.
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Saputra, Muhammad Irawan, and Dewanto Putra fajar. "The Image of Islam in Ms Marvel Series: An Analysis of Reception among Indonesian Muslim Audiences." Jurnal Komunikasi Islam 13, no. 01 (June 1, 2023): 50–74. http://dx.doi.org/10.15642/jki.2023.13.01.50-74.
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The issue of Islamophobia has become a major concern of discussions, including regarding the representation of Muslims in Hollywood films, where Muslim characters are often portrayed as terrorists or perpetrators of violence. However, recently several Hollywood films are trying to create positive representations of Islam and Muslims, for example Ms Marvel film series, which features a Muslim superhero. This study aims to examine how Muslim audiences in Indonesia interpret the depiction of Islam in the Ms Marvel film series. The reception analysis is used to observe phenomena related to audience interpretation. The findings have illustrated that the Muslim audience tends to take exact acceptance of Hollywood's depiction of how Muslims dress in this film, which is called a dominant hegemonic position. However, some respondents have the opposite acceptance position and the negotiated position as well.
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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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Harding, Mariann M. "Exploring the patient experience of chronic illness through literature and film." Journal of Nursing Education and Practice 8, no. 1 (September 3, 2017): 54. http://dx.doi.org/10.5430/jnep.v8n1p54.
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Objective: Caring for patients with a chronic illness requires a holistic approach. To help RN-BSN nursing students in a course focusing on chronic illness see the patient as a unique individual and to foster empathy by emphasizing the person behind each patient, literature and film were used to make the patient’s lived experience of chronic illness real.Methods: Students read autobiographies or biographies and viewed film about the patient experience of chronic illness. Materials were selected based on the illness and patient issues described. Using the Socratic Seminar, students prepared questions based on weekly reading assignments; faculty prepared questions for each film, encouraging active participation and group discussion of underlying insights. Many discussions revolved around select film scenes or quotations students selected from the text and the comparison to their practice experience with similar patients in the clinical setting.Results: Satisfaction with the course was overwhelming, with all students rating every evaluative category as a “5”, strongly agreeing that the course advanced their empathy towards patients with chronic illness. Comments detailed students’ having a better understanding of how chronic illness truly affects the patient and family. The books resonated with the class more than the films, as the books had more detail and put the reader into the setting as if they were the person.Conclusions: The use of literature and film is an effective means to enhance RN-BSN nursing students’ ability to understand and empathize with a patient’s needs and was successful in helping students understand the patient experience.
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Aleksandrova-Yankulovska, Silviya. "An innovative approach to teaching bioethics in management of healthcare." Nursing Ethics 23, no. 2 (December 29, 2014): 167–75. http://dx.doi.org/10.1177/0969733014558967.
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Background: Bioethical courses were introduced in the curricula in medical universities in Bulgaria in 1990s. In the beginning, the courses were mainly theoretical, and systematic case analyses and discussions of movies were introduced later on. The benefits of using films to teach ethics have been previously analyzed in the literature; however, to our knowledge such studies in Bulgaria are yet lacking. Objective: The aim of this study was to survey the opinions of students and analyze the results from the application of movies in bioethics teaching in a medical university in the north of Bulgaria. Methodology: A survey was carried out among 92 students in the management of healthcare. Two movies were used, and separate protocols for film discussion were developed. Ethical considerations: The study was conducted anonymously and with students’ free informed consent. Results and discussion: The students distinguished in total 21 different dilemmas and concepts in the first movie. The ethical dilemmas were classified into five groups: general ethical issues, deontological issues, special ethical issues, principles of bioethics, and theories of ethics. The second movie focused students’ attention on the issues of death and dying. In total, 18 elements of palliative care were described by the students. The range of different categories was a positive indicator of an increased ethical sensitivity. The students evaluated the movies’ discussions as a generally positive educational approach. They perceived the experience as contributing to their better understanding of bioethical issues. Conclusion: The innovative approach was well accepted by the students. The introduction of movies in the courses of bioethics had the potential to provide vivid illustrations of bioethical issues and to contribute to the exploration of specific theses and arguments. The presentation and discussion should be preceded by accumulation of theoretical knowledge. The future of effective bioethics education lays in the interactive involvement of students.
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Ndunguru, Deograsia. "Efficacy of Dance in Tanzanian Films: A Quest for the Intentional and Desired Effect in Local Productions." Umma The Journal of Contemporary Literature and Creative Art 10, no. 1 (June 1, 2023): 36–50. http://dx.doi.org/10.56279/ummaj.v10i1.2.
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This article argues that the depiction of dance in Tanzanian films, popularly known as Bongo movies, can be intentional and achieve the desired effect when correctly depicted, which appears to be lacking in some of the locally-produced films. The inclusion of dance in films is a common practice in many film-making traditions across the world. Dance in film serves both aesthetic and practical purposes. This qualitative study applied a descriptive survey and multiple case study research designs to collect data using analytical viewing, interviews and Focus Group Discussions. The data were then subjected to thematic coding and interpretation. Guided by the Symbolic Interaction theory (SI), the study advances a triad of dance functions evident in Tanzanian films: Base of a plot, dream sequencing, and picturisation. The study determined the dance’s role in these films to be somewhat incidental than intended even though the dances featuring in Tanzanian films have use-value. Thus, there is a need for filmmakers to ensure that the dance is intentional and correctly depicted to achieve the desired significant use in communicating salient ideas.
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Sand, Stine Agnete. "‘Call the Norwegian embassy!’: The Alta conflict, Indigenous narrative and political change in the activist films The Taking of Sámiland and Let the River Live." Journal of Scandinavian Cinema 12, no. 1 (March 1, 2022): 57–70. http://dx.doi.org/10.1386/jsca_00064_1.
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In the 1970s, Norway had not officially acknowledged their Indigenous population, the Sámi. In the following decade, two activist films, Let the River Live (Greve 1980) and The Taking of Sámiland (Eriksen and Tannvik 1984), focused on the Alta conflict ‐ protests against the construction of a power plant in Sámi territory ‐ Indigenous rights and colonial processes. Inspired by discussions concerning documentary, activism and decolonialism, this article investigates how the films frame Sámi interests and challenge perceptions of the Norwegian state. Because both films are collaborations across ethnic boundaries, they also challenge the supposed insider/outsider perspective of Sámi and Indigenous film, offering decolonial narratives by centring on Indigenous voices and experiences, confronting the idea of Norway as homogenous and representing the state as a colonial oppressor. They represent a political turning point that has changed politics, film production and collective memory.