Journal articles: 'Impact of cinema on American society'

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Sey, J. "The terminator syndrome: Science fiction, cinema and contemporary culture." Literator 13, no. 3 (May 6, 1992): 13–20. http://dx.doi.org/10.4102/lit.v13i3.760.

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This paper examines the impact of contemporary technology on representations of the human body in American popular culture, focusing on James Cameron’s science fiction films The Terminator (1984) and The Terminator II - Judgment Day (1991) in both of which the key figures are cybernetic organisms (cyborgs) or a robot which can exactly imitate the human form . The paper argues that the ability of modern film technology’ to represent the human form in robotic guise undercuts the distinction between nature and culture which maintains the position of the human being in society. The ability of the robot or cyborg to be ‘polygendered’ in particular, undermines the position of a properly oedipalized human body in society, one which balances the instinctual life against the rule of cultural law. As a result the second Terminator film attempts a recuperation of the category of the human by an oedipalization of the terminator cyborg.

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Kies, Bridget. "Television's “Mr. Moms”." Feminist Media Histories 4, no. 1 (January 1, 2018): 142–70. http://dx.doi.org/10.1525/fmh.2018.4.1.142.

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In the 1980s, domestic sitcoms on television proliferated with examples of men who performed domestic labor. In response to the women's movement, these “Mr. Mom” sitcoms liberated women from the domestic sphere and enabled men to claim it as their own. This article examines the potential impact of these series’ foregrounding of men and masculinities. In particular, it examines how the domestication of Mr. Moms highlighted the tensions between “new man” ideology persisting from the 1970s and 1980s Reagan-era machismo. The increasingly progressive attitudes toward women's work exhibited by Mr. Mom characters, coupled with the ultimate excision of the wife-mother character, resulted in complex, potentially queer, depictions of masculinity that help reveal feminist and antifeminist anxieties about the changing structure of the American family in the 1980s. This article won the Society for Cinema and Media Studies Women's Caucus Graduate Student Writing Prize in 2016.

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Smoodin, Eric. "Hollywood in Crisis: Cinema and American Society 1929-1939 Colin Shindler." Film Quarterly 51, no. 2 (December 1997): 66–67. http://dx.doi.org/10.2307/3697150.

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Emamzadeh, Zahra, and Shaho Sabbar. "How Can Cinema Justify Wars? A Qualitative Study on War Justification in American Cinema." Journal of Politics and Law 10, no. 1 (December 29, 2016): 18. http://dx.doi.org/10.5539/jpl.v10n1p18.

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Cinema is a powerful media that can shape people’s minds about different issues. Movies can focus on very detailed or hidden matters in society, and critical issues that profoundly affect the lives of large populations are usually at the center of cinema’s attention. Among these issues are wars that can affect tens of millions of people financially, mentally and of course physically.Films can question or justify wars. To answer if they questioned wars or justified them one should choose a specific war, a period and maybe a particular group of films and analyze their content and discourse. However, to do so, it would be helpful and maybe necessary to first better understand how films may question or justify wars.The present research is an effort to analyze a specific number of movies to see in what ways they may have justified the role of the United States in the Second World War. The results include eight issues that the movies raised regarding the legitimacy of the war and America’s role in it.

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Zakharov, Dmitriy Vladislavovich. "American cinema of the Great Depression. The «Social Restlessness Phase»." Journal of Flm Arts and Film Studies 5, no. 2 (May 15, 2013): 17–32. http://dx.doi.org/10.17816/vgik5217-32.

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The article overviews the American cinema of the 1930 in terms of the “cyclic conception” stating that the life of American society is subject to a distinctive algorhithm of public mood: “social restlessness” alternating with “private interest”. The author surveys gangster film, one of the dominating genres of the Depression cinema as exemplified by “The Pubic Enemy (1931, dir. William A. Wellman). The article also traces the links of the “social restlessness” films of the 1930s with the previous and subsequent phases stressing the problem of dividing each phase into stages: formation, prime and decline.

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Zakharov, Dmitriy Vladislavovich. "Cinema in the Phase of Private Interest." Journal of Flm Arts and Film Studies 3, no. 3 (September 15, 2011): 24–40. http://dx.doi.org/10.17816/vgik3324-40.

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There is a conception in American science that the life of the American society complies with the algorithm of moods and interests. This pattern is reflected in the cinema which records the swing from "private interest" to "social unrest". The article investigates the phase of the "private interest" of 1918 - 1929, the "jazz" or "prosperity" era and is centered on analyzing the films Why Change Your Wife? (1919, Cecil Blount DeMille) and It (1927, Clarence J. Badger) with Clara Bow, the queen flapper, who has been ignored by Russian film scholars.

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COZZENS, SUSAN E. "The Impact of Science on American Society." Knowledge 9, no. 2 (December 1987): 311–19. http://dx.doi.org/10.1177/0164025987009002009.

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Karbalaeetaher, Hossein Shahin. "Cinema And Society In The Light Of Emile Zola’s Naturalism." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 141–55. http://dx.doi.org/10.5195/cinej.2020.244.

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This study will seek to discuss the essential impact of Emile Zola’s naturalism regarding the role of cinema in projecting social issues. To be clear on how cinema has got involved with social issues and has become an effective art form for distributing social messages and encouraging social changes, this study first will give a detailed historical background on the relationship between cinema itself and society. Then, it will elaborate on Emile Zola's naturalistic literature role as the first serious endeavors to raise social awareness through art and literature in the late nineteenth century. Finally, this study will focus on the first cinematic movement with an emphasis on the depiction of the working class' real life and revealing inequalities and injustices in a society based on Zola’s naturalism.

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Kazyuchits, Maxim F. "Counterculture and Its Impact upon American Rock Music Documentaries in 1960-1970s." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 106–18. http://dx.doi.org/10.17816/vgik94106-118.

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The author focuses on the most significant documentaries and TV-movies employing rock music of the 1960s-1970s, and highlights the aesthetic modes of their social correlation with mass culture. Special attention is drawn to the creative synthesis of the aesthetics of direct cinema, exemplified by the group R. Drew (B. Leacock, D. Pennebaker, A. Maizels, D. Maizels, etc.) as well as individual filmmakers and rock music in the intense socio-cultural context associated with it. Rock music greatly differs in its interaction of a performer and audience: there is often a systematic violation of the boundaries between audience space and scene. Direct cinema uses different strategies for presenting the character in the frame. Long-term observation, usage of atypical size and angles in the established television and cinematic tradition of documentary in many ways made the traditional essays and reports specifically spectacular. Within this strategy fans become being represented and perceived as a collective character, that is, public with all the features of its ethos becomes an integral part of the image of the artist, inseparable from it. The general decline of the artistic diversity of documentaries about rock music is largely the result of the active integration of this subgenre into the commercial sphere of TV and film industry, characteristic for the style emerged within the television. Creative pursuits of the group drew were directed not so much against the revolution in screen arts, but for modernization of the outdated artistic approaches to documentary filmmaking. Anyhow rock music as well as rock culture expressed through the means of direct cinema testify to the efficiency of the basic methodological goals.

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Scheindlin, Dahlia. "Impact of American Political Marketing on Israeli Society." Journal of Political Marketing 16, no. 1 (November 23, 2016): 23–49. http://dx.doi.org/10.1080/15377857.2016.1262223.

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Martausová, Martina. "Authenticity and the Forest in Captain Fantastic (2016) and Leave No Trace (2018)." Miscelánea: A Journal of English and American Studies 63 (June 30, 2021): 129–49. http://dx.doi.org/10.26754/ojs_misc/mj.20215876.

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A number of recent productions would appear to suggest that American cinema in the 21st century has abandoned the traditional, culturally defined tropes of the American wilderness in favor of its portrayal as an alternative environment for the contemporary American man. This study focuses on the role of the forest as a specific form of the wilderness in two contemporary American films, Captain Fantastic (2016) and Leave No Trace (2018), analyzing how this background motivates and shapes the authentic representation of the main male protagonist. This form of authenticity, as the study suggests, reflects a more extensive cultural call for the authenticity of American masculinity in American cinema in the 21st century. The crucial aspect in relation to the contemporary representation of the American man in these two films is the father/child relationship that emphasizes the role of the setting in the process of regenerating man’s position in society, thereby reflecting the postfeminist characterization of the American man.

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Maksym W., Kyrchanoff. "SciFi Cinema as one of Spatial Localizations of Military Images in American Mass Culture." Humanitarian Vector 16, no. 5 (November 2021): 77–86. http://dx.doi.org/10.21209/1996-7853-2021-16-5-77-86.

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War is one of the most popular topics in modern mass culture. The author analyzes the features of the perception of war in modern science fiction cinema. The purpose of this article is to analyze the representation of war in American science fiction as a form of historical memory in mass culture. The author uses inventionism methods to analyze the images of war in the film production of mass culture as “invented traditions” of the consumer society. The range of perception of war and military experience in popular culture is analyzed. Modern global film industry and national film industries regularly address military themes in the world or national contexts, producing films that actualize military experience of nations and states. The film industry segments that specialize in the production of science fiction and fantasy films also do not ignore the military theme. It is supposed that popular culture offers a variety of images of war, including militarism, violence, military collective trauma, and military political psychosis. The author believes that military theme in popular culture arose as a result of reflection on real military conflicts, and the creators of the pop-cultural project could reject the war or idealize it. The author believes that military science fiction in modern American mass culture actualizes the values of pacifism or militarism as reflections of the left or right preferences of the creators of such cultural product for the consumer society. Science fiction films actualize various forms of war, including global military clashes, civil conflicts, aggression, intervention and genocide. Popular culture is becoming the main sphere of existence of the memory of war because military conflicts of science fiction series can be perceived in the consumer society as more real than the historical wars of the past. Military images of mass culture are supposed to actualize various forms of war memory, including memory as trauma, memory as marginalization, and memory as nostalgia which idealize war.

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Prysthon, Angela Freire. "Stuart Hall, os estudos fílmicos e o cinema." Matrizes 10, no. 3 (December 23, 2016): 77. http://dx.doi.org/10.11606/issn.1982-8160.v10i3p77-88.

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This article explores the relationship between Stuart Hall and the cinema from three specific topics: 1) Hall’s work on concepts of difference, identity, representation and stereotype in his relationship with the cinema; 2) the impact of his thoughts on film production, especially in movies of the 1980s that directly portrayed the multicultural society and the ethnic issues of cultural hybridity, using as a case study the film My beautiful laundrette; and 3) more direct relationships he established with audiovisual production, whether in his relationship with black British cinema or how he was portrayed in the film The Stuart Hall Project.

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Jeong, Seung-hoon. "World Cinema in a Global Frame." Studies in World Cinema 1, no. 1 (April 29, 2021): 29–38. http://dx.doi.org/10.1163/26659891-0000b0006.

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Abstract The “world” in film studies has been the “other” of the world’s empire, with Hollywood taking American exceptionalism. It unfolds as the stage of identity politics representing all the rest of the world as postcolonial, peripheral, or merely different than Hollywood. However, this “political” model becomes challengeable as the world’s ongoing homogenization blurs old boundaries while causing “ethical” deadlocks such as the vicious interlocking between (neo)liberal multiculturalism and fundamentalist terrorism. The notions of subjectivity and society also undergo new crises and changes permeating the entire world beyond the established national or transnational frames of the world. Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space. Locality functions here less as the basis of identity, referring to a unique reality that both resists and requires the center’s endorsement, than as a contingent springboard for addressing the concrete universality of the world system, including the center. This approach brings a global frame of world cinema.

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Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.

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Pereyra-Rojas, Milagros. "Impact on Society versus Impact on Knowledge: Scholarly Production in Latin American Studies." Academy of Management Proceedings 2012, no. 1 (July 2012): 11118. http://dx.doi.org/10.5465/ambpp.2012.11118abstract.

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Sibanda, Nyasha. "The Press, Society and the Coming of Sound to Birmingham." Journal of British Cinema and Television 17, no. 2 (April 2020): 233–53. http://dx.doi.org/10.3366/jbctv.2020.0521.

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The arrival of sound on British cinema screens is perhaps more accurately described as the arrival of American sounds. Almost overnight, the sounds of American voices, accents, slang and vernacular became commonplace throughout the country. This article uses linguistic and social economic frameworks to explore the ways in which American sound films challenged the legitimacy and dominance of hegemonic forms of language within Britain. Taking the mainstream provincial press as a primary source, it discusses the ways in which the arrival of sound was seen as a nationalist threat to both industry and culture. The article uses Birmingham as a focal point and uncovers nuanced ways in which language was negotiated and deployed both by mainstream institutions as well as young people and the working classes. It argues that dominant social actors within British society – such as the press, the Church and educationists – saw talkies as almost invariably threatening, while marginalised social actors like children, teenagers and working-class Northern and Midland audiences were able to use the othered displacement of American talkies as a class-neutral space where their own social capital was bolstered.

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Irion, R. "AMERICAN ASTRONOMICAL SOCIETY MEETING: A Rocky Landing for Deep Impact?" Science 308, no. 5729 (June 17, 2005): 1735a—1375a. http://dx.doi.org/10.1126/science.308.5729.1735a.

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Maher, John F. "The Impact of theTransactions-American Society for Artificial Internal Organs." Artificial Organs 10, no. 4 (August 1986): 257–60. http://dx.doi.org/10.1111/j.1525-1594.1986.tb02560.x.

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Norton, Nancy P. "Advertising, the uneasy persuasion: Its dubious impact on American Society." Business Horizons 28, no. 5 (September 1985): 81. http://dx.doi.org/10.1016/0007-6813(85)90075-8.

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Mu, Enrique, and Milagros Pereyra-Rojas. "Impact on Society versus Impact on Knowledge: Why Latin American Scholars Do Not Participate in Latin American Studies." Latin American Research Review 50, no. 2 (2015): 216–38. http://dx.doi.org/10.1353/lar.2015.0021.

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Kassymkhanova, Akmaral, Vladimir Popov, and Baubek Nogerbek. ""Exceptional" heroes in inclusive film of Kazakhstan." Central Asian Journal of Art Studies 6, no. 1 (March 31, 2021): 120–33. http://dx.doi.org/10.47940/cajas.v6i1.364.

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The theme of integrating people with special needs into society is extremely relevant both for the entire civilized world and for our country in particular. The introduction refers to the signing by the Republic of Kazakhstan of the Convention on the Rights of People with Disabilities at the UN headquarters. However, today there is no full-fledged integration of people with disabilities into society. As it is known, cinematography is a modern herald of value orientations, it has educational functions, and also endows a viewer with ability to see beauty in everything. However, domestic science has not yet investigated the image of an "exceptional" hero in cinema, which is a person with a disability. Therefore, the purpose of this article is to provide scientific coverage of inclusive cinema in Kazakhstan and the image of an “exceptional” hero. The study used theoretical methods such as bibliographic, descriptive, analytical, systematic, chronological and statistical. The results examine the impact of inclusive cinema on the transformation of public opinion, as well as instilling humanity in society. The discussion contains official data on shooting of 248 feature films for the period of independence of the Republic of Kazakhstan of which only 17 are devoted to the theme of disability. The article shows the dynamics of the creation of films about disability in the Republic of Kazakhstan, highlights modern inclusive cinema in Kazakhstan on the example of the films “To be or not to be” (2014) and “The girl and the sea” (2017) directed by Aziz Zairov and Mukhamed Mamyrbekov. In conclusion, it is suggested that inclusive cinema can serve as a “beacon” of value orientations for society and a guide in understanding and accepting citizens with disabilities. It also proposes a forecast of development of the trend of creating pictures about people with disabilities.

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Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (May 2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.

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How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews such experimentation. It instead celebrates Indigenous socio-political links with African American culture, ‘Black is beautiful’, and the American Civil Rights movements of the 1960s. Crucially, both these films challenge notions of a singular and tragic history for Indigenous Australia. Placing the films within their wider cultural contexts, this article highlights the diversity of Indigenous Australian cinematic expression and the varied ways in which history can be reclaimed on film. However, it also shows that the content, form and accessibility of both works are inextricably linked to the industry concerns and material circumstances of the day. This is a crucial and overlooked aspect of film analysis and has implications for a more nuanced appreciation of Indigenous film as a cultural archive.

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Franklin, Ieuan. "BBC2 and World Cinema." Journal of British Cinema and Television 14, no. 3 (July 2017): 344–60. http://dx.doi.org/10.3366/jbctv.2017.0377.

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This article examines the origins of BBC2's reputation as a purveyor of films from around the world, exploring the significance and impact of the strand World Cinema (1965–74) and assessing the range and diversity of its offer. Foreign-language titles had been broadcast by the Corporation since before the Second World War, due partly to their ready availability at a time when Hollywood films were ‘off limits’, given the hostility of American (and British) film companies towards the new rival medium of television. During this early period, however, these continental films were not popular, undoubtedly due to the fact that subtitles were very difficult to read on small, low-definition television screens. BBC2, with its commitment to minority tastes and interests and its use of both the higher-definition 625-line UHF system and colour, was perfectly placed to revive and foster interest in world cinema. For those who urged broadcasters to adopt and maintain an enlightened film policy, World Cinema became exemplary, as a rare exception to the general rules in early television of editing for content or length, block buying (the practice of buying the rights to a mixed package of films in order to acquire certain gems) and haphazard scheduling. For a generation of cinephiles, World Cinema was a formative and educative experience. Particular attention is paid here to the first five years of World Cinema, which saw the strand give attention to a variety of ‘New Waves’ and relay experiences from behind the Iron Curtain and further afield.

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Mączko, Małgorzata. "Black Lives Matter on Screen: Trauma of Witnessing Police Brutality in Contemporary American Cinema." New Horizons in English Studies 6 (October 10, 2021): 190–204. http://dx.doi.org/10.17951/nh.2021.6.190-204.

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In the years following the emergence of the Black Lives Matter movement, American cinema was looking for a way to appropriately address the issue of police brutality against people of color. Filmmakers, often inspired by real-life events, began developing stories focused on the trauma of witnessing lethal police violence. Three films released in 2018 – Blindspotting (dir. Carlos López Estrada), Monsters and Men (dir. Reinaldo Marcus Green) and The Hate U Give (dir. George Tillman Jr.)– emphasize how the aftermath of such experiences affects young people of color and their communities. This article aims to explore the role of witness testimony in trauma-centered narratives and examine how the contemporary American cinema visualizes racial trauma. To achieve that, the films will be analyzed within the context of trauma studies, including theories regarding both individual and cultural trauma. Moreover, studies focused on the socialization of Black children will help demonstrate the transgenerational impact of trauma. All three films share common motifs: they represent the psychosomatic aspects of trauma through similar cinematic techniques and see value in witness testimony, even if it requires personal sacrifices from the protagonists. They also portray parents’ worry about their children’s future within a prejudiced system and the struggle to prepare them for it. All these issues have been previously addressed in the public and academic discourse and are now being reflected in cinema. Film proves to be a suitable medium for representing trauma of witnessing police brutality and cinema will most likely remain a vital part of the debate about dismantling racist systems for years to come.

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Campbell, Charles. "Simulation, Fetishism and World Domination." Critical Survey 33, no. 3-4 (September 1, 2021): 16–27. http://dx.doi.org/10.3167/cs.2021.33030404.

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According to Jean Baudrillard, in a totally functional world people become irrational and subjective, given to projecting their fantasies of power into the efficiency of the system, a state of ‘spectacular alienation’. I argue that Americans as a society have accommodated themselves to such a system to the detriment of their ability to make sense in their public discourse. Baudrillard finds pathology in the system of objects as it determines social relations. In one symptom, people may obsess over a fetish object. For American society, the magical mechanical object is the gun. I show evidence for this weapons fetish in American fiction, cinema, television and serious journalism. Then, using Baudrillard and other analysts, I show how the American obsession with the superior functionality of weapons joins its myth of exceptionality and preference for simulation over reality to create a profound American dream state that protects a very deep sleep.

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MacDonald, Scott. "Indonesia in Motion: An Interview With Leonard Retel Helmrich." Film Quarterly 63, no. 3 (2010): 35–41. http://dx.doi.org/10.1525/fq.2010.63.3.35.

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An interview with Leonard Retel Helmrich, a Dutch––Indonesian documentary filmmaker whose recent work (The Eye of the Day, The Shape of the Moon) reflects the increasing impact of Islamic fundamentalism on Indonesian society. He discusses his commitment to the idea of cinema as motion and his innovations in equipment design.

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Soboleva, Valeria S. "THE THEME OF LONELINESS IN SOFIA COPPOLA’S OEUVRE." Articult, no. 1 (2022): 52–67. http://dx.doi.org/10.28995/2227-6165-2022-1-52-67.

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The theme of a human's estrangement from society or from himself has become a relevant object of study many social sciences of the twentieth century. Then the dominant existential paradigm served as fertile ground for the creation of a number of films dedicated to the representation of the phenomenon of loneliness, thereby prompting researchers to study the features of this phenomenon in cinema. The article focuses on identifying the essence and specificity of the theme of loneliness as a socio-cultural phenomenon on the example of the films of the outstanding modern director, the daughter of an influential figure in American cinema Francis Ford Coppola, Sofia Coppola. Based on the analyzed images, the author concludes that, despite the previously known cinematic techniques and plot moves in Coppola's works that convey a feeling of loneliness (the character's unstable emotional state, his difficulties of interaction with society, etc.), the director, however, rethinks this complex of ideas and introduces his own special, delicate vision of such a complex problem.

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Vasilenko, Dar’ya V. "“THE GOOD, THE BAD AND THE EVIL”: THE IMAGES OF AMERICAN “OTHER” IN RUSSIAN ANTI-TERROR CINEMA OF THE 21ST CENTURY." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 4 (2021): 72–86. http://dx.doi.org/10.28995/2073-6339-2021-4-72-86.

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The article examines the images of the American “Other” and their transformation in accordance with the foreign policy contexts. Due to the intensity of its impact on public perception and high sensitivity to international relations dynamics, the Russian film industry serves as a basis for studying this subject. To portray the connection between the foreign policy crises and the range of the American “Other” representations more vividly, the author focuses on such a peculiar genre of contemporary cinema as the anti-terror cinema discourse. This type of the cinema discourse, as proven by the instances of the American “Other” portrayal, comprises a fictitious narrative as well as political allegories. A more detailed study of their existential contexts provides that the negative representation of Americans is nourished by political conflicts. As they accelerate, they generate the tendency of a ‘new anti-americanism’, an intended distortion of the onscreen image of the American “Other”. The article suggests that the modern ways of portraying Americans are hardly novel, hence the sustainability of the ‘enemy’ image. The connection with foreign policy contexts, however, does not allow us to make a definite conclusion about the future of the American “Other” on the Russian screen. The probability of expanding the representation spectrum towards the positive side is also explained by the active exploitation of the Cold War as a metaphor of the highest point of ‘no return’ in the Russian-American relations.

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Spencer, Margaret Beale. "American Identity: Impact of Youths' Differential Experiences in Society on Their Attachment to American Ideals." Applied Developmental Science 15, no. 2 (April 19, 2011): 61–69. http://dx.doi.org/10.1080/10888691.2011.560806.

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Coker, J. W. "The American Left: Its Impact on Politics and Society since 1900." Journal of American History 101, no. 3 (December 1, 2014): 958–59. http://dx.doi.org/10.1093/jahist/jau548.

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Muhamed Banimansoor, Abdullah Jassim, and Longhai Zhang. "Petrifying Impact of Capitalism in Philip Roth’s The Human Stain." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 02 (2022): 119–28. http://dx.doi.org/10.37648/ijrssh.v12i02.007.

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This study sheds light on impact of capitalism on American society and how it enforces racial discrimination to subject the majority of people and use them as a commodity in the hands of fewer as portrayed in Philip Roth’s The Human Stain. This article also attempts to focus on the effect of war on society as capitalist’s tool. It raises a question as to what extent capitalism is successful in deforming the American society. It aims to reveal the role of capitalism in planting social discrimination in American society. It also discusses the atmosphere of racial discrimination at the time of writing this article.

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Senanayake, Harsha. "Hollywood and Wicked Other: The Identity Formation of “Western Us” Versus “Muslim Others”." Open Political Science 4, no. 1 (January 1, 2021): 64–67. http://dx.doi.org/10.1515/openps-2021-0007.

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Abstract An image on a screen can produce a greater effect than thousands of words in conveying a message and in popular culture, movies with images as a representation, create a discourse. Out of many, Hollywood which has become a flagbearer of western cinema, plays an important role in constructing identity and images including the stereotyping of Muslims. This paper attempts to identify the discourse of ‘US’ verses ‘THEM’ through Hollywood and in which ways Hollywood has constructed the stereotypical identity of Muslims. The main research question is whether the stereotyping of Muslims in Hollywood is a result of 9/11 global terrorism or has it been shaped by the historical discourse of western orientalism. The case study method has been employed to derive the insights of the discourse with the theoretical lights of Orientalism. A number of Hollywood movies have been cited to validate the identity formation process led by Hollywood in pre and post 9/11 American society and illustrate how the image has been used by Hollywood to construct ‘US’ verses ‘THEM’ in popular culture. This paper argues that Hollywood has depicted Muslims as barbaric, wicked others as a result of the civilizational mission of the West, orientalism and post 9/11 Hollywood cinema advocate these roots, yet with 9/11 Hollywood cinema plays a pivotal role in the securitization of ‘Muslim others’ and politicize Muslims as a threat to western society by stereotyping Muslim society in a post 9/11 epoch.

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Roig Lanzillotta, Lautaro. "Albert Camus, Metaphysical Revolt, Gnosticism and Modern Cinema." Gnosis: Journal of Gnostic Studies 5, no. 1 (March 26, 2020): 45–70. http://dx.doi.org/10.1163/2451859x-12340076.

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Abstract In The Rebel (1951) Albert Camus assigns ancient Gnosticism an important place in the history of human revolt. In his interpretation, Gnostics incarnate the spirit of proud rebellion and protest against a God deemed responsible for human suffering and death. For Camus these are the roots of metaphysical rebellion in Western history that, beginning in the eighteenth century, culminated in the fascist and socialist utopian experiments in the twentieth century. After assessing Camus’s view of Gnosticism, this article claims that modern cinema shows the impact of The Rebel on the way several recent films conceive of their rebellious protagonists. The controlled character of the revolts they promote shows that modern cinema follows Gnosticism in their analysis both the modern sentiments of alienation in contemporary society and the ways to break free in order to attain a life worthy of its name.

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Hannenberg, Alexander A. "Takuo Aoyagi, Ph.D., American Society of Anesthesiologists Honorary Member." Anesthesiology 135, no. 4 (September 9, 2021): 591–96. http://dx.doi.org/10.1097/aln.0000000000003953.

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Pulse oximetry has changed anesthesiology and all of health care. Its inventor is recognized with American Society of Anesthesiologists Honorary Membership this year. The authors explore his invention and its far-reaching impact.

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Merdhi, A., and E. Imanjaya. "Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik." IOP Conference Series: Earth and Environmental Science 998, no. 1 (February 1, 2022): 012009. http://dx.doi.org/10.1088/1755-1315/998/1/012009.

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Abstract Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmental sustainability. In the paper, the documentary film Pulau Plastik (Dandhy Laksono and Rahung Nasution 2021) is the subject of analysis. The film has its premiere at the end of April 2021 in the cinema theatre in Jakarta, Yogyakarta, Surabaya and Denpasar and shows the plastic waste and its environmental damage. The documentary uses mise-en-scéne in its plot to evoke certain experience and emotion of the audience which we will examine its role and its psychological impact with the texts of the French philosopher Maurice Marleau-Ponty in the Philosophy of Embodiment, American experimental psychologist James Gibsons in Ecological Perception and American philosopher Sue Cataldi in Feelings, Depth and Flesh. The directors also use Cinéma Vérité Approach to strengthen the effect towards audience.

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Marrone, Gaetana. "Once upon a time in Latin America: An interview with Lorenzo Codelli." Journal of Italian Cinema & Media Studies 10, no. 2 (March 1, 2022): 181–85. http://dx.doi.org/10.1386/jicms_00120_7.

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In this interview, which was conducted during the COVID-19 pandemic in early March 2021, Lorenzo Codelli reflects on Latin American cinema and its underlying aesthetics, as well as on the global influence of Italian cinema, in particular neorealism, on filmmakers such as Ruy Guerra, Fernando Solanas and Alfonso Cuarón, among others. In recent years, the Latin American film industry has produced commercially successful films, such as Cuarón’s Roma (2018), but few movies receive international distribution in particular if directed by women. For example, Melina Léon’s Cancion sin nombre (Song Without a Name) (2019), which premiered at Cannes’ Directors’ Fornight and has won many awards, is a case in point. Of special interest is Codelli’s point of view on the status of contemporary national cinemas and the impact of popular television series on its very survival.

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Ward, James J. "Existential Definition at the End of the American Road." Review of International American Studies 14, no. 2 (December 19, 2021): 121–41. http://dx.doi.org/10.31261/rias.11664.

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This article discusses three films that helped landmark American cinema in the 1970s. Although differing in inception and reception, all three belong loosely to the genre of the road movie and are linked by protagonists whose stances of rebellion and alienation were characteristic of the counterculture of the 1970s and by the broader theme of existential self-definition that still influences moviemaking today. A critical and commercial failure on its release in 1970, Michelangelo Antonioni’s Zabriskie Point has been revalorized as an ambitious attempt to represent the political and cultural conflicts that seemed to be fracturing American society at the time. In contrast, Richard Sarafian’s Vanishing Point soon overcame the disadvantage of studio disinterest and established itself as a cult favorite. Arguably the definitive anti-hero of 1970s cinema, the amphetamine-fueled renegade driver played by Barry Newman achieves iconic stature through an act of defiant self-destruction that still leaves viewers of the film stunned. Finally, Clint Eastwood’s The Gauntlet, in which the actor-director breaks with his ‘Dirty Harry’ persona to depict a burned-out cop who redeems a ruined career, and enables himself a new start, not by making his own law but by enforcing the law on the books, and against all odds. In all three films, the still unspoiled landscape of the American Southwest, crisscrossed by its skein of highways, provides the tableau for escapist fantasies that may in fact be real, for high-speed chases and automotive acrobatics that defy the laws of physics, and for vignettes of an ‘outsider’ way of life that was already beginning to perish.

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Grenier, John E. "‘Of Great Utility’: The Public Identity of Early American Rangers and Its Impact on American Society." War & Society 21, no. 1 (May 2003): 1–14. http://dx.doi.org/10.1179/072924703791202032.

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Castillo-Soriano, María de los Ángeles, Alberto Canavati-Espinosa, and Diana Isabel Maldonado-Flores. "O imaginário suburbano e o Mass Media: um reflexo de sua construção e desmontagem na geração do chamado Baby Boom nos Estados Unidos (1946-1974)." Revista Perspectivas 6, no. 1 (February 15, 2021): 6–23. http://dx.doi.org/10.22463/25909215.2917.

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According to Cambridge Dictionary, the meaning of Suburbia is related to peripheral parts of a city where there are houses, but there is not a considerable amount of retailers, work places and leisure venues. Obviously this definition is understood from an elemental point of view, it is, since the ends of the 18th century according to the urban conditions of English and newly North American towns. Even so, throughout the last six decades, more specifically 1946 and 1974, there was an interesting, as well as a vast record of information regarding this peculiar sort of urban planning, so representative of a young and naïve post-war consumption society, that shaped a lifestyle that was envied as imitated abroad (with several local interpretations in all over the globe). However, these imaginaries, largely, have been built from the positivist perspectives of a society in the curb of its industrialization, but also as a result of the critical thinking, have mutated towards the disassembly and the demystifying of what once was considered the ideal way of making a new city from this outskirt urban-planning format. The role that cinema, literature and visual arts have played in the idealization, the projection, the construction and disassembly of Suburbia as an urban model of social aspiration, have been so influential in a large number of American families, who pretend to resemble the models shown in television media, and in certain way in literature, which has been a line of argument that gave rise to the advertising and programs in film and television industry. In this article there will be an approach about the role that both literature, cinema and art have played in the idealization, projection, construction and disassembly of the suburb as an imaginary of apparent social welfare for a large part of American society.

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Starnes, John Eric. "The Rebel Behind the Wheel: An Examination of the ‘Redneck’ Rebel Cultural Trope in <i>The Dukes of Hazzard</i>." Review of International American Studies 14, no. 2 (December 19, 2021): 89–102. http://dx.doi.org/10.31261/rias.11815.

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The heyday of ‘Redneck’ cinema—the 1970s to early 1980s, saw the rise of the Redneck Rebel—a Southern or otherwise ‘hick’ anti-hero who rode around the countryside like a modern-day cowboy vanquishing evil. His ‘horse’ was his car—a beefed up/souped up muscle car that often became the star of the show and overshadowed the anti-hero himself. This article examines the Redneck Rebel through the lens of one American TV series—The Dukes of Hazzard. This popular 1980s TV series, along with its antecedents and contemporaries, underscore several important points that reinforce typical conservative American virtues: freedom, fighting the ‘good fight,’ an overt heterosexuality, a particular reveling in a sarcastic ‘sticking out the tongue’ at the overly sophisticated, overly arrogant, ‘anti-American,’ and well-heeled parts of American society.

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Kaibr, Kadhim Hatem, and Jingjing Guo. "Materialist Society in Albee’s Who’s Afraid of Virginia Woolf." English Language and Literature Studies 8, no. 1 (February 26, 2018): 109. http://dx.doi.org/10.5539/ells.v8n1p109.

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After the Second World War, The American materialistic society was one of the most themes criticized in most of Albee’s early plays. He paid a great attention to the negative impact of “American Dream” project and the negative impact of this project on the behavior of American individual. Albee explains that the “American Dream” project means the absence of the highest values and principles of humanity and this project will cause a gap between family members and between the family and society. Through Albee’s play Who’s Afraid of Virginia Woolf? This paper will attempt to highlight on how the American individual directly affected by the materialism community which has become used to administer the American daily life, also highlight on the social hypocrisy that the high American class lived and explain how the American culture has lost the real principles to build an ideal society in which humans can live in harmony.

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Gottschalk, Simon, and Arthur Asa Berger. "Ads, Fads, and Consumer Culture: Advertising's Impact on American Character and Society." Contemporary Sociology 31, no. 3 (May 2002): 302. http://dx.doi.org/10.2307/3089681.

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LEUNG, Simon Kwok Fai, Wing Wai YEW, Poon Chuen WONG, Yee Kit TSE, Wing Sze LAW, and Chi Chiu LEUNG. "American Thoracic SocietyEuropean Respiratory Society 2005 standardization of DLCOmeasurement: Impact on performance." Respirology 13, no. 5 (July 2008): 728–30. http://dx.doi.org/10.1111/j.1440-1843.2008.01312.x.

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Álvarez-Castañeda, Sergio Ticul, Cintya A. Segura-Trujillo, and William Z. Lidicker. "Impact of the American Society of Mammalogists on the internationalization of mammalogy." Journal of Mammalogy 100, no. 3 (May 23, 2019): 751–62. http://dx.doi.org/10.1093/jmammal/gyz001.

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Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (January 1990): 53–76. http://dx.doi.org/10.2190/90lj-px9t-q0j8-kb0g.

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This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the Academy Award, bestowed annually by the Academy of Motion Picture Arts and Sciences for the best achievements in film acting. The study demonstrates the differential treatment of gender in American films and the durability of specific screen stereotypes for men and for women. The prevalence of rigid conventions in the portrayal of women for half a century is explained in relation to male economic and ideological dominance in Hollywood and in American society at large.

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Woodward, Kate. "Off-road and Off-beat: Gadael Lenin, American Interior and the Transnational Focus of Welsh Art Cinema." Journal of British Cinema and Television 13, no. 2 (April 2016): 292–311. http://dx.doi.org/10.3366/jbctv.2016.0314.

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This article focuses on two recent films from Wales, the feature film Gadael Lenin (1993) and the documentary American Interior (2014). Together, they are well placed to offer a rich interrogation of the many contrasting and contradictory aspects of contemporary art cinema. I argue that film production in Wales – despite the fact that the very concepts of Wales, Welsh cinema and Welsh film are highly complex, contested and shifting – has developed a distinctly transnational status which allows an interrogation of the national (in terms of Wales) but also of the interface between the national and the transnational. Set wholly and mainly outside Wales, with dialogue in Welsh as well as other languages, the films employ a comparativist agenda in order to internationalise the Welsh experience and demonstrate that it is within art cinema's reach to be both national and transnational, by addressing distinct, contrasting dimensions. While Gadael Lenin makes bold statements about the role of art in society, American Interior engages in a transmedial, multi-platform form of film-making which transcends boundaries and demonstrates the cultural potential of an expansive and inclusive form of culture making from Wales, one which reaches out globally and crosses national and cultural forms.

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SHUMILINA, INNA V. "Features of Screen Construction of the Image of the President of the United States: Hollywood—Media—Politics." Art and Science of Television 18, no. 1 (2022): 113–58. http://dx.doi.org/10.30628/1994-9529-2022-18.1-113-158.

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Analysis of the text and the context of screen production is a necessary link for comprehending social processes. Capturing time through the screen and film images allows us to form an idea of the actual cultural, aesthetic, ideological (value) specificity of society. Whether cinema is a reflection of the truth of life, or a form of secondary communication, or a means of formation of viewers’ worldview positions, are the questions, the relevance of which has increased significantly against the geopolitical background of the first quarter of the 21st century. This article is an attempt to analyze how it works today in the US—using some examples of political cinema in conjunction with the media agenda. According to my study, the specific potential of cinema, combining different ways of communication and information, clearly highlights the American socio-political realities. As the traditional frameworks of filmmaking expand (meaning the Internetization of space and the possibility to shoot a movie on a mobile device), the specifics of filmmakers’ work are transforming too: a more active use of media principles of presenting socially significant information is noted, and the stylistics of materials change as well (shifting to journalism, keen satire or sharp documentary style). The article traces the influence of modern media on the film content and examines the most famous “politically charged” films against the background of the centerpiece of the American domestic politics—the presidential elections.

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Shestak, Viktor, and Yulia Plutalovskaya. "History of international legal regulation of genetics." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (December 1, 2020): 118–23. http://dx.doi.org/10.31166/voprosyistorii202012statyi38.

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The authors analyze in retrospect the impact of the film industry on society. Crimes «inspired» by cinematography are considered, as well as crimes that became the basis for popular films. Both recently released films and other products of the film industry are analyzed, as well as works that are internationally recognized as “masterpieces” of cinema. The authors study the impact of the film industry on ordinary people, especially young people and people with an unstable psyche, and also consider such a phenomenon as «copycat crimes» and identify its possible causes.

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Stroiński, Paweł. "Szeregowiec Ryan, czyli wojna i (a) pamięć." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 140–47. http://dx.doi.org/10.24917/3929.

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Saving Private Ryan. War and (vs) memory The analysis is concerned with the relations between representation of war in American cinema and its cultural memory based on Steven Spielberg's Saving Private Ryan (USA 1998). Based on concepts such as cultural memory, postmemory, representation and realism, multiple aspects of a film work were analyzed: the plot, image, sound, and John Williams' musical score. Hollywood war films through referencing genre traditions, patriotic musical style and iconic imagery are capable of influencing the ways society remembers and imagines war. In case of Saving Private Ryan filming techniques used for the combat scenes play a particular role. Influenced by the original World War II combat documentaries the filmmakers achieved the viewer's full immersion in depicted combat, as opposed to the older war cinema, where technological means allowed the camera to only observe the events.Key words: combat film; Saving Private Ryan; Steven Spielberg; collective memory; representation;

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Journal articles on the topic 'Impact of cinema on American society'

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