Journal articles on the topic 'The Half of It Movie'
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Amoah, Charles Agyei, and Emmanuel Ampong. "Effects of Aggressive Movies on Children’s Aggressive Behaviour." International Journal of Scientific Research and Management 8, no. 08 (August 4, 2020): 1590–610. http://dx.doi.org/10.18535/ijsrm/v8i08.el02.
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This study was about effects of aggressive movies on children’s aggressive behaviour. Forty (40) pupils were randomly selected from Korle Abansoro Primary School, Koforidua, Eastern Ghana, to participate in the study. An adapted version of peer nomination instrument for aggression designed by Crick & Grotpeter in 1995 was used to acquire the data. Half the participants watched an aggressive movie while the other half watched non-aggressive movie for thirty minutes each after which the participants were assessed using the aggressive behavioral checklist or scale. The independent ‘t’ test was used to analyze the results. Two of the hypotheses were confirmed while the other two were rejected. This indicated that children who watched an aggressive movie exhibited more aggressive behavior than children who watched non-aggressive movie and males were not more aggressive than females. Two of the findings were consistent with previous findings. The implication of these results was discussed.
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Ullah, Kifayat, Anwar Rashad, Muzammil Khan, Yazeed Ghadi, Hanan Aljuaid, and Zubair Nawaz. "A Deep Neural Network-Based Approach for Sentiment Analysis of Movie Reviews." Complexity 2022 (June 29, 2022): 1–9. http://dx.doi.org/10.1155/2022/5217491.
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The number of comments/reviews for movies is enormous and cannot be processed manually. Therefore, machine learning techniques are used to efficiently process the user’s opinion. This research work proposes a deep neural network with seven layers for movie reviews’ sentiment analysis. The model consists of an input layer called the embedding layer, which represents the dataset as a sequence of numbers called vectors, and two consecutive layers of 1D-CNN (one-dimensional convolutional neural network) for extracting features. A global max-pooling layer is used to reduce dimensions. A dense layer for classification and a dropout layer are also used to reduce overfitting and improve generalization error in the neural network. A fully connected layer is the last layer to predict between two classes. Two movie review datasets are used and widely accepted by the research community. The first dataset contains 25,000 samples, half positive and half negative, whereas the second dataset contains 50,000 specimens of movie reviews. Our neural network model performs sentiment classification among positive and negative movie reviews called binary classification. The model achieves 92% accuracy on both datasets, which is more efficient than traditional machine learning models.
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Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.
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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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Gustary, Devian Try. "Speech Act Analysis In Zootopia Movie." Jurnal Pendidikan Bahasa 11, no. 1 (July 31, 2022): 153–66. http://dx.doi.org/10.31571/bahasa.v11i1.4176.
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This study aims to investigate the use of speech act and its possible purpose performed by two main characters, Judy Hopps and Nick Wilde in the Zootopia movie. Qualitative method was utilized to explain the function of speech act performed by the characters. Searle’s theory is used as the main theory to answer the two problems formulation regarding speech act classifications and their purposes of using speech act. The research result showed that all of the speech acts was used by Hopps. On the other hand, Wilde used just half of the speech act classification, namely directive, expressive, and commissive. Meanwhile, her purposes of using speech acts are to tell what she believed (assertives), to ask someone to do (directives), to express the feeling (expressive), to promise (commissives), and to bring a change (declarations).
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Nduru, Siti Ayu Mardiah. "AN ANALYSIS OF MAGIC SPELLS IN HARRY POTTER AND THE HALF-BLOOD PRINCE." LINGUA LITERA : journal of english linguistics and literature 6, no. 1 (June 30, 2021): 1–9. http://dx.doi.org/10.55345/stba1.v6i1.96.
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This research aims to analyze the magic spells uttered by the characters in Harry Potter and The Half-Blood Prince movie and identify the meaning and functionsof the magic spells in the movie. To come to the analysis, the writer applied literal meaning and non-literal meaning based on Griffiths’s theory. Meanwhile, thefunction of magic spells analyzes based on Searle's theory. This research employed qualitative research and descriptive method. The data were collected by the nonparticipant method and taking notes, selecting dialogues containing magic spells while watching the video. The result finally found the functions of each spell and its meaning, whether it has literal or non-literal meaning.
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Kadek Gita Arya Cahyaningrum, Gede Primahadi Wijaya Rajeg, and I Nyoman Tri Ediwan. "Face Threatening Acts of the Main Character in “The Half of it” Movie." RETORIKA: Jurnal Ilmu Bahasa 8, no. 2 (October 24, 2022): 144–50. http://dx.doi.org/10.55637/jr.8.2.5052.144-150.
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This study analyzed face threatening acts (FTAs) used by the main character in the movie titled The Half of It, focusing on (i) the types of the FTAs and (ii) how the FTAs are used by the main character. The data came from all utterances (words, phrases, clauses, sentences) produced by the main character. A pragmatic theory of FTAs from Brown and Levinson was applied to analyze the data qualitatively. Four types of FTAs are found in this study. The first type is “threatening the hearer’s negative face”, which was embedded in specific acts used by the main character, namely Suggestion, Threat, Reminding, Order, Warning, and Compliment. The second type is, “threatening the speaker’s negative face”, which is followed by such acts as Response to the hearer’s faux pas, Excuses, and Acceptance of offers. The third type is, “threatening the hearer’s positive face” with the acts of Criticism, Insults, Disagreement, Ridicule, Reprimand, Disapproval, Irreverence, Complaints, and Accusations. The last type of the FTAs is “threatening the speaker’s positive face” by using Confession, Emotion leakage, Physical control over the body, Apology, and Acting stupid. Finally, the FTAs enacted in the utterances of the main character are minimized by means of applying the politeness strategies. It has been discovered that the main character used the four types of politeness strategy that were positive politeness, negative politeness, bald on-record, and off-record strategy.
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Nisa, Intan Khairu, and Adi Sutrisno. "Apology Strategies in Harry Potter Movie Series." English Language Teaching Educational Journal 1, no. 1 (November 15, 2018): 1. http://dx.doi.org/10.12928/eltej.v1i1.230.
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Apology is an inevitable part of human communication as an act of face-saving strategy. It is necessarily uttered if an offense is made. This research is an attempt to reveal the apology strategies used as well as to analyze the influence of social distance and relative power to the realization of apology strategies, as seen in Harry Potter and the Order of the Phoenix, Harry Potter and the Half Blood Prince, and Harry Potter and the Deathly Hallows Part 1 and 2. In total, there are 125 data found and those are classified according the apology strategy employed. The result shows that the majority of the speakers employ indirect apology strategy ‘Explanation or Account of Cause’ to apologize. Furthermore, this research also found that social distance and relative power are taken into account during the apology process and they affect the linguistic realization of apology strategies in the movies.
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Bekalu, Mesfin Awoke, and K. Viswanath. "Smoking portrayal in Ethiopian movies: a theory-based content analysis." Health Promotion International 34, no. 4 (April 17, 2018): 687–96. http://dx.doi.org/10.1093/heapro/day013.
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Abstract Considerable research from high-income countries has characterized the amount, nature and effects of movie smoking depiction. However, in low- and middle-income countries (LMICs) where tobacco use and tobacco-related diseases are growing, little research has investigated smoking imagery in movies. This study examined the extent and nature of smoking portrayal in locally produced Ethiopian movies, and estimated the number of tobacco impressions movies delivered. Sample movies were taken from YouTube. Keyword searches were conducted using ‘Ethiopian movies’ and ‘Ethiopian drama’ on 18 September 2016. In each search, the first 100 most viewed movies were examined. Excluding repeated results, a total of 123 movies were selected for content analysis. Three coders participated. Results indicated that 86 (69.9%, 95% CI 63–78%) of the 123 most viewed movies contain at least one tobacco incident (TI). The movies depict a total of 403 TIs, with an average of 4.7 (95% CI 3.7–5.6) TIs in each movie. The average length of TIs is 1 min and 11 s. On average, the movies were viewed more than half a million times by September 2016, and received more ‘likes’ than ‘dislikes’, z = −8.05, p = 0.00. They delivered over 194 million tobacco impressions via YouTube alone from July 2012 through September 2016. Most TIs portray smoking as a socially acceptable behavior with no negative health consequences. The findings suggest that as with transnational Western movies, locally produced movies in LMICs should be scrutinized for compliance with national and international regulatory efforts.
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Duong, Tan Nghia, Nguyen Nam Doan, Truong Giang Do, Manh Hoang Tran, Duc Minh Nguyen, and Quang Hieu Dang. "Utilizing Half Convolutional Autoencoder to Generate User and Item Vectors for Initialization in Matrix Factorization." Future Internet 14, no. 1 (January 4, 2022): 20. http://dx.doi.org/10.3390/fi14010020.
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Recommendation systems based on convolutional neural network (CNN) have attracted great attention due to their effectiveness in processing unstructured data such as images or audio. However, a huge amount of raw data produced by data crawling and digital transformation is structured, which makes it difficult to utilize the advantages of CNN. This paper introduces a novel autoencoder, named Half Convolutional Autoencoder, which adopts convolutional layers to discover the high-order correlation between structured features in the form of Tag Genome, the side information associated with each movie in the MovieLens 20 M dataset, in order to generate a robust feature vector. Subsequently, these new movie representations, along with the introduction of users’ characteristics generated via Tag Genome and their past transactions, are applied into well-known matrix factorization models to resolve the initialization problem and enhance the predicting results. This method not only outperforms traditional matrix factorization techniques by at least 5.35% in terms of accuracy but also stabilizes the training process and guarantees faster convergence.
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Chandra, Rifika, Yulmiati Yulmiati, and Edwar Kemal. "An Analysis of Initiation Response Feedback (IRF) Pattern in Classroom Discourse at Half Nelson Movie." Modality Journal: International Journal of Linguistics and Literature 1, no. 2 (December 31, 2021): 132. http://dx.doi.org/10.30983/mj.v1i2.4835.
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<p class="abstrak" align="center"><strong><em>Abstrak</em></strong><strong> </strong></p><p class="abstrak"><em>Latar belakang penelitian berdasarkan observasi peneliti dalam film Half Nelson yang menunjukkan bahwa terdapat pola IRF yang digunakan selama interaksi antara guru dan siswa di dalam kelas. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana pola IRF terjadi di dalam kelas, bagaimana guru berinisiatif, bagaimana respon siswa, dan bagaimana umpan baliknya. Penelitian ini dilakukan dengan menggunakan penelitian kualitatif dengan menggunakan pendekatan analisis wacana dalam linguistik terapan dan menggunakan metode deskriptif. Data dalam penelitian ini adalah interaksi yang terjadi ketika guru dan siswa saling berinteraksi dalam naskah film Half Nelson. Penelitian ini menggunakan purposive sampling sebagai teknik pengumpulan data. Hasil penelitian ini menunjukkan bahwa ada enam jenis inisiasi yang digunakan, yaitu teacher elicit, teacher direct, teacher inform, teacher listing, re-inisiation (i), re-initiation (ii). Respon tersebut adalah respon siswa spesifik, silent, silent-av, bingung berorientasi kerja, tertawa, respon siswa open-ended, dan nonverbal. Jenis-jenis umpan balik adalah mengulang, mengakui jawaban yang benar, memperluas atau memodifikasi, menunjukkan jawaban yang salah, meringkas, memuji. Berdasarkan hasil analisis data, dapat disimpulkan bahwa guru menggunakan berbagai jenis inisiasi dalam situasi yang berbeda.</em></p><p class="abstrak"><strong><em>Kata Kunci: </em></strong><em>Pola IRF, Film Half Nelson, Interaksi</em><em></em></p><p class="abstrak" align="center"><strong>Abstract</strong></p><p class="abstrak">The background of the research based on the researcher observation in <em>Half Nelson</em> movie which indicated that there was an IRF pattern used during interactions between teachers and students in the classroom. The purpose of this study is to find out how the IRF pattern occurs in the classroom, how the teacher initiates, how students respond, and how the feedback. This research was conducted using qualitative research by using a discourse analysis approach in applied linguistics and using descriptive methods. The data in this study is the interaction that occurs when teachers and students interact with each other in the Half Nelson movie script. This study uses purposive sampling as a technique in data collection. The results of this study indicate that there are six types of initiation used, <em>namely teacher elicit, teacher direct, teacher inform, teacher listing, re-initiation (i), re-initiation (ii)</em>. The responses are <em>students’ response specific, silent, silent-av, confused work-oriented, laughter, students’ response open-ended, and nonverbal</em>. The types of feedback are <em>repeating, acknowledging a correct answer, expanding or modifying, indicating an incorrect answer, summarizing, praising</em>. Based on the results of data analysis, it can be concluded that the teacher used various types of initiation in different situation.</p><p class="abstrak"><strong>Keywords:</strong> IRF Pattern, Half Nelson Movie, Interaction</p><p class="abstrak" align="left"> </p>
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Keil. "Leo Rosencrans, Movie-Struck Boy: A (Half-)Year in the Life of a Hollywood Extra." Film History 26, no. 2 (2014): 31. http://dx.doi.org/10.2979/filmhistory.26.2.31.
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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (August 3, 2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.
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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.
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Pradani, Adelia Fatmawati, and Thomas Joko Priyo Sembodo. "The Violation of Conversational Maxims in the Movie Series Divergent." Lexicon 7, no. 2 (June 13, 2021): 224. http://dx.doi.org/10.22146/lexicon.v7i2.66572.
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This research focuses on identifying the types of conversational maxims violated by the characters in a feature film trilogy entitled The Divergent Series. This research also aims to explain the functions of the violation of conversational maxims in the series. The result shows that there are 100 violations of conversational maxim in Divergent series, and among those, there are 43 violations of maxim of relevance (43%), which is the most frequently occurred in the movie. The second violation identified is the violation of maxim of manner, which reaches 24 violations (24%), and the third frequently occurring violation is violations of maxim of quantity with 22 numbers of violation (22%)/. The least occurring violation found in the movie is violation of maxim of quality, which reaches 11 numbers of violation (11%). There are several functions of the violation of conversational maxim found in the movie: keeping a secret, concealing half of the information, avoiding certain topic/question, and confusing the hearer.
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Pradani, Adelia Fatmawati, and Thomas Joko Priyo Sembodo. "The Violation of Conversational Maxims in The Divergent Series." Lexicon 7, no. 2 (June 1, 2021): 215. http://dx.doi.org/10.22146/ljell.v7i2.66125.
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This research focuses on identifying the types of conversational maxims violated by the characters in a feature film trilogy entitled The Divergent Series. This research also aims to explain the functions of the violation of conversational maxims in the series. The result shows that there are 100 violations of conversational maxim in Divergent series, and among those, there are 43 violations of maxim of relevance (43%), which is the most frequently occurred in the movie. The second violation identified is the violation of maxim of manner, which reaches 24 violations (24%), and the third frequently occurring violation is violations of maxim of quantity with 22 numbers of violation (22%)/. The least occurring violation found in the movie is violation of maxim of quality, which reaches 11 numbers of violation (11%). There are several functions of the violation of conversational maxim found in the movie: keeping a secret, concealing half of the information, avoiding certain topic/question, and confusing the hearer.
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Halamish. "Exodus, the Movie—Half a Century Later: The Interplay of History, Myth, Memory, and Historiography." Jewish Film & New Media 5, no. 2 (2017): 123. http://dx.doi.org/10.13110/jewifilmnewmedi.5.2.0123.
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Chaika, Yuliia. "Achievements of Ukrainian movie at international film festivals and forum (the second half of the 1950s – 1960s)." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 31 (2020): 63–68. http://dx.doi.org/10.31652/2411-2143-2019-31-63-68.
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Pápai, Zsolt. "Distressed Glamour. Genres and Political-Social Context in Hungarian Cinema of the 1930s and 1940s." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 173–93. http://dx.doi.org/10.2478/ausfm-2020-0008.
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AbstractThe article focuses on Hungarian films produced between 1939–1944 by examining how they tend to refrain from representing conflicts, and scrutinizing the political as well as social issues. However, directors started to revise this avoidance of conflicts by employing a so-called noir sensibility from the beginning of the Second World War in certain films, especially in “doomed love movies” such as Deadly Spring (Halálos tavasz, 1939), Mountain Girl (A hegyek lánya, 1942), and A Woman Looks Back (Egy assszony visszanéz, 1942), or melodramas, such as At the Crossroads (Keresztúton, 1942), Lent Life (Kölcsönadott élet, 1943), and Black Dawn (Fekete hajnal, 1943). The essay also offers a case study of the banned Hungarian movie Half a Boy (Egy fiúnak a fele, shot in 1943, but only shown in February 1946) by D. Ákos Hamza, which represented and protested against the stigmatization of Jewish people. Half a Boy is an often-cited emblematic film of its era. It is also an enigmatic one: it is a work full of social and political-historical reflections. Its humanistic point of view makes it outstanding in its era, nevertheless it is also rather ambivalent in terms of its orientation of values.
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Maj, Jakub. "Różnice w kulturze i organizacji pracy na planie filmowym w Indiach i w Polsce. Przypadek tamilskiego filmu pt. Mersal." Gdańskie Studia Azji Wschodniej, no. 21 (August 30, 2022): 203–15. http://dx.doi.org/10.4467/23538724gs.22.031.16147.
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Tamil Mersal in Gdańsk. Differences in the culture and organisation of work on a film set in India and Poland (case study) In 2017, the author of the article was the production manager for the shooting of a Tamil film entitled Mersal, which was partially filmed in the Tricity. In the movie, Gdańsk was supposed to imitate Paris. Half of the film crew responsible for production were Poles and half were Indian. Based on his own observations and analysis of the literature, the author describes the differences between filmmakers from two very distant cultures: both in terms of the general understanding of cinema, but also in practice and the approach to the filmmaking process.
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Yukins, Elizabeth. "Film in Ralph Ellison’s Three Days Before the Shooting . . ." Twentieth-Century Literature 66, no. 3 (September 1, 2020): 333–60. http://dx.doi.org/10.1215/0041462x-8646874.
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In the posthumously published Three Days before the Shooting . . . (2010), Ralph Ellison’s protagonist spends years as a film actor and filmmaker, and cinematographic effects appear throughout the narrative. Sharply aware of what he called the “enormous myth-making potential of the film form,” Ellison sought in this second novel both to explore the artistic possibilities of film and to expose the dangers of this potent medium. This essay examines three interrelated ways that movies matter to Ellison’s literary experiments. First, it argues that Ellison’s ambivalence about the American movie industry correlates with both his technological savvy and his sociopolitical conservativism in the latter half of his writing career. Second, it shows how Ellison’s fascinations with cinematic effects shape the aesthetics and themes of his unfinished second novel. Finally, the article demonstrates how Ellison’s specific techniques in representing cinematic experience exemplify, ironically, his primary allegiance to literary narrative.
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EWK, Elisabeth Ngestirosa. "Minority Voices In Power Rangers Movie." NOBEL: Journal of Literature and Language Teaching 9, no. 1 (April 30, 2018): 9–17. http://dx.doi.org/10.15642/nobel.2018.9.1.9-17.
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Power Rangers is a 2017 superhero movie that was previously known in Power Rangers film series. Power Rangers attracts consumers of all ages and backgrounds, and it quickly becomes the box office in the world. This movie gets some critics and controversial responds. The urgency of this study is to respond the controversial issues toward the movie considered harmful for children. My aim to have this study is to expose some important issues which relate to minority groups. The study ascertains minority voices perceived as right equality issue despite many negative issues lingering this movie. This issue links to liberties which include freedom of life stated in US Bill of Human Right. This study applies popular literature approach and Hall representation theory. Research result shows the minority voice that reveals the positive image of minority group such as the powerful and independent individual. It also portrays, courage, confidence, humanities, cares and love, friendship and team working, trust and support, justice and anti-bullying. Those issues are gathered in the scenes from the image: the acceptance of color people and the right of LGBT represented by some characters.
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Kopeć, Jarosław. "Połowiczny rozpad bomby atomowej. Dekontekstualizacja tekstów zimnowojennej kultury popularnej na przykładzie "Strażników"." Przegląd Humanistyczny, no. 1 (April 26, 2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9237.
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The article analyses and interprets Watchmen by Moore, Gibbons and Higgins in comparison with its movie adaptation directed by Zack Snyder. The hypothesis is that there is an observed phenomenon metaphorically called “half-life of atomic bomb”, during which the theme of the fear of the A-Bomb is gradually rinsed out of the popular/mass culture. This case study is to be treated as an introduction to further inquiry into the topic based on a wider selection of texts.
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Cuțitaru, Laura Carmen. "Language and Outer Space." Human and Social Studies 7, no. 1 (March 1, 2018): 80–87. http://dx.doi.org/10.2478/hssr-2018-0006.
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Abstract The 2016 much acclaimed American sci-fi movie Arrival is based on (what is in reality an extension of) the so-called “Sapir-Whorf” hypothesis, a linguistic theory set forth in the first half of the 20th century, according to which one’s native language dictates the way in which one perceives reality. By taking into account the latest in human knowledge, this paper tries to provide arguments as to why such a claim works wonderfully in fiction, but not in science.
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Tahami, Sepideh, and Gholam Reza Parvizi. "Simultaneous versus Consecutive Movie Narration: An Attempt at Boosting L2 Oral Communication Skills." English Linguistics Research 8, no. 2 (June 5, 2019): 31. http://dx.doi.org/10.5430/elr.v8n2p31.
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Fluency in one of the most significant components of oral communication, and in the communication era, when it is essential for almost everyone to master speaking skills in foreign languages, especially English, this component needs to be put in the spotlight. Diverse steps have been taken in the world of SLA to promote learners' fluency in L2, yet there is still much to do in this arena. The present study aims at probing the effectiveness of simultaneous movie narrations as a new fluency-booster strategy. To this end, 66 students of IELTS speaking preparation classes in an institute in Tehran, Iran were selected and put into 2 groups of 33 (each group distributed in 3 classes). The homogeneity of the sample was checked by a mock IETLS test obtained from Cambridge IELTS 10 (Cambridge Local Examinations syndicate ( 2015) and through a MANOVA. The treatments contained 24 hours of training and practice on IELTS speaking strategies, offered to them in 16 sessions of 90 minutes. The first half of each session was allocated to teaching and practice on the institute’s main course book – Focusing on IELTS - Listening and Speaking Skills (Thurlow & O'Sullivan, 2011). In the second 45 minutes, learners of both groups were exposed to the same 10-minute movie extracts, and practiced their narration and speaking skills in pair-group activities. Learners of the consecutive narration group narrated the movie plot and actions with delay (consecutively) whereas those of the simultaneous narration group narrated them simultaneously as the movie was being played. The results of the statistical analysis of the posttest highlighted that simultaneous narration group learners outperformed those of the consecutive narration group in terms of oral communication skills. The findings of this study have pedagogical implications for English teachers, teacher trainers, exam preparation teachers and simultaneous interpreters’ trainer.
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Adinusa, Hiroka Putra, and Rahmanti Asmarani. "Subtitling Strategies of Po’s Utterances in Kung Fu Panda Movie." E-Structural 1, no. 01 (July 6, 2018): 70–87. http://dx.doi.org/10.33633/es.v1i01.1825.
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Abstract. This research is entitled “Subtitling Strategies of Po’s Utterances in Kung Fu Panda Movie”. The aim of this research is to find out the subtitling strategies of Po’s Utterances in Kung Fu Panda Movie. This research used descriptive qualitative method to describe then analyze the subtitling strategies of Po’s utterances in Kung Fu Panda movie. The steps of analyzing data are: collecting the data, identifying the data, classifying the data, analyzing the data, and the last step is drawing the conclusion. Transfer strategy has the most frequency in Po’s utterances in Kung Fu Panda movie, the percentage reaching 53,91% over half of Po’s utterances. Transfer strategy is translated more easily because this strategy translating the source language completely and accurately into the target language. So it is easy to make the audience understand from the source language to the target language with the original meaning from this movie. Meanwhile, transcription has the least frequency in Po’s utterances, the percentage is 2,90%. Transcription strategy is found rarely because this strategy is used to translate a language when there exist unusual term in the source language (SL), like nonsense language and third language. So it is difficult to find out transcription strategy in Kung Fu Panda movie.Keywords: Subtitling Strategies, Transcription, Transfer, UtterancesAbstrak. Penelitian ini berjudul “Strategi Penerjemahan pada Ujaran Po sebagai tokoh utama di Film “Kung Fu Panda” dengan tujuan untuk mengetahui strategi penerjemahan ujaran Po di film Kung Fu Panda. Penelitian ini menggunakan metode deskriptif kualitatif untuk menjelaskan dan menganalisis strategi penerjemahan ujaran Po di film “Kung Fu Panda”. Tahapan-tahapan analisis adalah : mengumpulkan data, mengidentifikasi data, mengelompokkan data, menganalisis data, dan tahap terakhir adalah mengambil kesimpulan. Strategi transfer memiliki frekuensi paling tinggi dalam ujaran Po di film Kung Fu Panda, dengan persentase mencapai 53,91% lebih dari setengah ujaran Po. Strategi transfer merupakan strategi yang lebih mudah digunakan karena strategi ini menerjemahkan bahasa sumber secara lengkap dan akurat ke dalam bahasa sasaran. Jadi lebih mudah untuk membuat penonton mengerti bahasa sumber ke bahasa target melalui makna asli dari film tersebut. Sementara, transkripsi memiliki frekuensi terendah dalam ujaran Po, persentasenya 2,90%. Strategi transkripsi jarang ditemukan karena strategi ini digunakan untuk menerjemahkan bahasa ketika ada istilah yang tidak biasa dalam bahasa sumber (BS), seperti kata-kata yang tidak bermakna atau bahasa lain. Dengan demikian strategi transkripsi tidak banyak ditemukan dalam film “Kung Fu Panda” ini.Kata kunci: strategi penerjemahan, transkripsi, transfer, ujaran
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Nikita, Nidia, Ranti Andela, Ghina Zahra Fauziah, and Zhia Aulia Nazafi. "The Contrast Portrayals of American and Pakistani Culture in The Big Sick Movie." Insaniyat: Journal of Islam and Humanities 3, no. 2 (May 31, 2019): 111–26. http://dx.doi.org/10.15408/insaniyat.v3i2.11124.
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This study aims to describe the cultural stereotypes between American and Pakistani that are portrayed in The Big Sick (2017) movie. This study uses a qualitative method with a Cultural Studies approach. The analysis is done by looking at the characteristics of American and Pakistani characters by using the theory of characterization from Boggs and the theory of representation by Stuart Hall to present the cultural stereotype issues that appear in the movie (Hall, 1997). The cultural stereotype of the American and Pakistani culture is presented by some American characters (Emily and her family) and some Pakistani characters (Kumail and his family) of The Big Sick movie. The result of the study shows that the characteristics of Pakistani characters are religious and deceitful, while the characteristics of American characters are smart and straightforward. Furthermore, through the analysis of the characters’ characteristics, the writers found the cultural stereotype in the movie. Pakistani characters are associated with conservatism and close-mindedness. On the contrary, American characters are associated with modernism and open-mindedness. It can be concluded that in this movie, American culture is depicted as more positive than Pakistani.
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La Freniere, Peter J., and William R. Charlesworth. "Effects of Friendship and Dominance Status on Preschooler's Resource Utilization in a Cooperative/Competitive Situation." International Journal of Behavioral Development 10, no. 3 (September 1987): 345–58. http://dx.doi.org/10.1177/016502548701000305.
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Field and laboratory methods were used to investigate the influence of dominance and friendship on behaviour in a cooperative/competitive problem-solving situation among preschool peers. Ten groups of four children each (two girls, two boys) were formed from three different preschool classes. Each group was placed in a room containing a toy movie viewer (a resource) that required the assistance of two children in order for one child to view the movie. DQminant children were able to gain access to the viewer and use the resource more than lower-ranked classmates, particularly during the first half of the session. Dominance rank, however, did not predict resource utilisation between same-sex friends. High status groups of friends used the resource more effectively and more equitably than groups composed predominantly of low ranking children or non-friends. Friendship relations rather than affiliative behaviour in the situation were associated with high resource utilisation. A mixture of quasi-agonistic and opportunistic behaviours led to high resource utilisation; agonistic behaviours were infrequent and unrelated to resource utilisation.
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Han, Laehee. "A Study on the Narrative Strategy of the Movie <Burning>." Korean Association for Literacy 13, no. 5 (October 31, 2022): 413–43. http://dx.doi.org/10.37736/kjlr.2022.10.13.5.14.
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This paper aims to newly interpret the meaning of narrative ambiguity through an analysis of narrative strategies in the movie <Burning>. <Burning> adopts a mystery genre, but rather than solving suspicions, the resolution of ambiguity continues to be postponed. Existing studies have shown limitations in that the relationship between Ben and narrative ambiguity has not been properly identified by simplifying and interpreting Ben as a heartless villain. In this paper, the narrative strategy of <Burning> was analyzed with a focus on the concept of others’ desires under this awareness of the problem. Burning begins as a melodrama, but it rapidly turns into a mystery as Ben appears. The movie amplifies the mystery by presenting elements one by one, which make Ben perceived as the owner of a suspicious secret. After Ben’s appearance, Jong-su and Ben are seen in a class confrontation, while at the same time it is highlighted in the movie that Jong-su is obsessed with the ambivalent feeling of fascination and doubt about Ben’s desire. The characteristic of the second half of Burning’s narrative is the method of linking the two events: finding the reason for Hammy’s disappearance and confirming whether Ben’s greenhouse is burning. The movie induces distance from Jong-su by placing double elements that make Jong-su doubt rather than a scene where Jongsu follows Ben. In addition, scenes that blur the boundaries of “reality/dream” are used to amplify the suspicion that the reality that is apparent may be Jong-su’s fantasy. The Burning ending sequence ostensibly contains revenge for Ben, who killed Hammy, but the form of murder is based on Ben’s words. It is Ben’s desire for Burning that is gripping Jong-su’s desire. The ending scene where Jong-su is leaving the burning car behind and leaving the scene raises questions about whether he solved the mystery of Ben’s desire and killed him. In short, the ambiguity inherent in the narrative of “Burning” is meant as a reservation and rejection of hasty judgment on the identity of anger and desire that dominates our time. “Burning” asks for a new reflection on the identity and expression of anger that dominates today’s younger generation in an era of uncertaint
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Cutting, James E. "Three Filmmaking Practices That Guide Our Attention to Popular Cinema." Art & Perception 10, no. 1 (December 13, 2021): 63–88. http://dx.doi.org/10.1163/22134913-bja10032.
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Abstract Popular movies are constructed to control our attention and guide our eye movements across the screen. Estimates of fixation locations were made by manually moving a cursor and clicking over frames at the beginnings and ends of more than 30,000 shots in 24 English-language movies. Results provide evidence for three general filmmaking practices in screen composition. The first and overriding practice is that filmmakers generally put the most import content ‒ usually the center of a character’s face ‒ slightly above the center of the screen. The second concerns two-person conversations, which account for about half of popular movie content. Dialogue shots alternate views of the speakers involved, and filmmakers generally place the conversants slightly to opposite sides of the midline. The third concerns all other shots. For those, filmmakers generally follow important content in one shot by similar content in the next shot on the same side of the vertical midline. The horizontal aspect of the first practice seems to follow from the nature of our field of view and vertical aspect from the relationship of heads to bodies depicted. The second practice derives from social norms and an image composition norm called nose room, and the third from the consideration of continuity and the speed of re-engaging attention.
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Jung, Seung Eon. "Novel Transition of Korean Movie Entertainment Programs appeared through the TV Channels of Comprehensive Programming since the 2nd Half of 2017." Cine forum 32 (April 30, 2019): 183–223. http://dx.doi.org/10.19119/cf.2019.04.32.183.
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Watanabe, Yoshimi, and Akira Hirota. "Special issue. Advances in magnetic recording. 3. Current topics on magnetic recorder. 2. Consumer VTR. 2. Half inch type video movie." Journal of the Institute of Television Engineers of Japan 39, no. 4 (1985): 325–29. http://dx.doi.org/10.3169/itej1978.39.325.
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Xu, Hai Hua, Li Ping Liu, and Bai Chuan Liu. "Analysis and Design of the Cloud System of Inner Mongolia National Cinema Line." Advanced Materials Research 1014 (July 2014): 379–82. http://dx.doi.org/10.4028/www.scientific.net/amr.1014.379.
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To make the inner Mongolia National cinema line company to expand the low-cost movie channel benefitting civilian, take better advantage of the company's movie integration and issue, bear the spread and services of films in the whole inner Mongolia Autonomous Region, in this paper, we design and implement the cloud system of inner Mongolia National cinema line, take intelligent digital television operating system under the cloud technique as carrying and transmission tool, broadcast a front-end frequency point through the cable digital television network in the total region, broadcast the digital and cultural content, such as high-definition movies, digital books, party member education , technical training, newspapers, magazines, government information and convenience information, to each neighborhood and community, all levels of schools, factories and business units in the whole region, build the cloud cinema of multi-functional digital cinema hall whose contents are unified, with truly unified management, unified propaganda, unified arranging videos, service on demand, promote the industrial development of national digital culture industry, expand new channels of the national film show, serve the overwhelming majority of community residents.
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Sihombing, Lambok Hermanto, M. Shacrul Fahrezi, and Haysel L. A. Nursewan. "REPRESENTATION OF JEALOUSY IN SHORT MOVIE “THE NEIGHBORS’ WINDOW”." JURNAL BASIS 8, no. 2 (October 23, 2021): 181–88. http://dx.doi.org/10.33884/basisupb.v8i2.4438.
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Short films are often underestimated for their lack of duration. People think that the short duration will affect to how the messages are conveyed. However, short films are now very popular. There is even a category of best short film in Academy Awards, or well-known as Oscars. The Neighbors’ Window is one of many Oscars’ winners for best short film. This research aims to find out how jealousy is represented in the short film The Neighbors’ Window by Marshall Curry. This method of this research uses a theory from Saussure called semiotics. This research also uses an approach of Representation theory by Mary Beltran and Stuart Hall. Most of the data in this article is taken from scenes in the short film which later are connected with the theories. This result of this research shows that the important scenes presented in this movie are representation of Jealousy towards each character. This research shows that the movie is about jealousy presented by the symbols in the movie using some analytical research by applying the two theories.
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Fujimoto, Kiyoshi, and Akihiro Yagi. "Biological Motion Alters Coherent Motion Perception." Perception 37, no. 12 (January 1, 2008): 1783–89. http://dx.doi.org/10.1068/p5933.
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When a movie presents a person walking, the background appears to move in the direction opposite to the person's gait. This study verified this backscroll illusion by presenting a point-light walker against a background of a random-dot cinematogram (RDC). The RDC consisted of some signal dots moving coherently either leftward or rightward among other noise dots moving randomly. The method of constant stimuli was used to vary the RDC in motion coherence from trial to trial by manipulating the direction and percentage of the signal dots. Six observers judged the perceived direction of coherent motion in a two-alternative forced-choice procedure. Response rates for coherent motion perception in the direction opposite to walking were evaluated as a function of motion coherence. The results showed that the psychometric function shifted toward the direction determined by a bias in the opposite direction to the walker. The mean threshold was about half as high as that in a control condition in which the positions of the point-lights were scrambled to impair the recognition of the walker. The results demonstrate that biological motion noticeably affects the appearance of motion coherence in the background.
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Afkarina, Izzah, and Dwi Taurina Mila Wardhani. "Psychoanalysis of Main Character’s Personality in the Movie Moana." PIONEER: Journal of Language and Literature 11, no. 2 (December 31, 2019): 77. http://dx.doi.org/10.36841/pioneer.v11i2.482.
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Psychoanalysis is the study of human nature and personality. The purpose of this research is to find the personality of main character and the factor of personality development in the Movie Moana. This research used descriptive qualitative method by Creswell. The analysis was started by explaining the id, ego and super-ego by Sigmund Freud in Calvin S. Hall (1954), identifying with the factor of personality development by Kuravati and Malipatil (2017) and making conclusion. The results of the analysis showed that there are eleven data in this thesis which include the structural personality (id, ego and super-ego). The researcher found some factors that indicated to development of Moana’s personality that are heredity from individual factor and physical environment, family environment, cultural environment and social role from environment. Moana can cross the ocean because she wanted to save people of Motunui from economic down turn. This movie has some messages about the desire of child. Therefore, the researcher suggested the next researcher to do further research. This research also expected to enrich the knowledge of the reader about psychoanalysis.
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Zvegintseva, Irina A. "A Criminal as the Main Movie Character, or Old Themes and New Solutions." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 115–25. http://dx.doi.org/10.17816/vgik83115-125.
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The former British colony, emerged as a place of exile for the most dangerous criminals and unreliable people from the metropolis, Australia began its existence very unenviable, appearing on the world map called "The Earths hell", which was used to frighten children in Europe. The fact is: the gene fund of the nation - the convicts, their guards, and adventurers came from all over Europe in hope of a better life. The first half of the 19th century Australia, in fact, remained a giant reforming home, a jail. And whatever paradoxical it might explain the significant number of films shot in the 20th and in 21st centuries with criminals as protagonists. When touching upon permanent plots and problems in Australian cinema, it should be noted that the "eternal" love of the inhabitants of the Green continent to the favorite national hero Ned Kelly, a former convict and burglar has not disappeared. In the minds of the Australians the burglar has become a symbol of the fighter against injustice, a sort of "Australian Robin Hood". The main characters of the movies were bushrangers in Australia called escaped convicts, pariahs of the society, hunting armed robberies and burglaries, hiding from justice in the vast valleys of the Australian Bush. Here, incidentally, there is a parallel with the American film industry that also has surpasses the rank of the most beloved and popular criminals in the country from Al Capone, Bonnie Parker and Clyde Barrow up to Bugsy Siegel and John Dillinger. But soon such films were banned because of the monopolies of the USA and the UK movies on the Australian market. However, life itself has started to supply filmmakers with the stories that hardly could come to the minds of writers with the wildest imagination. The real horrible crimes and not less real maniacs, sadists, pedophiles, whose actions have forced to shudder the whole society, both in the past and the present, formed the basis of a number of films shot in Australia. The analysis of these movies, the authors' position, the artistic value of works have become the target of this article.
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Legan, Michał. "Z głębokości milczę do Ciebie, Boże! "Milczenie" Endō/Scorsese jako traktat teologiczny." Studia Filmoznawcze 40 (June 27, 2019): 155–63. http://dx.doi.org/10.19195/0860-116x.40.12.
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From the depth i am silent to you, Lord! The Silence by Endō/Scorsese as a theological treatmentThe Silence by Endō/Scorsese is a masterpiece, and it is a fundamentally Christian masterpiece. The beatification of Ukon Takayama 7.02.2017 — a samurai, who sacrificed his life to Christ — took place in the moment when the Japanese Catholic Church only half a million people of the 127 million inhabitants is being touched by crisis and attacked. In this social-cultural perspective the film by Scorsese should be placed. The Silence talks about the core of Christianity — it is a meditation on silent God. The main hero of the movie is a young Jesuit searching in Japan that is hostile towards Christianity, his master — the apostate. The whole drama of the action is implicated by the question: Will he — the protagonist — betray his faith or not? And yet Endō’s novel and Scorsese’s movie only seemingly tell the story about Jesuits in Japan of the 17th century. The point is that we are experiencing today the moments of triumph and expansion and tomorrow we may stand in front of the drama of the most tragic choices. If the measure of the size of a film work is its depth of the questions, which bother a spectator after the movie projection, The Silence by Scorsese is the emanation of what is most important in cinema. Scorsese, with admirable theological instinct leads his spectators but only these astute spectators towards the discovery of the axis of the drama. Thus, the spectators for a short while have the chance to look at the wounded creature through the eyes of God. Through the eyes of merciful God who justifies human beings because He sees all these things which are hidden for them. The film bears on itself the weight of a theological treaty.
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Knowlton, B. C. "Xerxes’ Deliberate Expedition." Journal of Classics Teaching 17, no. 34 (2016): 49–54. http://dx.doi.org/10.1017/s2058631016000246.
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Book Seven of Herodotus’ Histories contains his account of the Persian expedition against Greece led by King Xerxes in 480 BCE. This campaign followed from the one undertaken ten years earlier on the orders of his father, King Darius. That Persian force had landed at Marathon and been defeated by the Athenians in a famous battle that has ever since been considered a victory of European freedom over Oriental despotism. Xerxes, determined to avenge his father's defeat, raised a force reported by Herodotus to be of as many as two and a half million fighting men, only to come up against the 300 Spartans at the Battle of Thermopylae. This narrative of these and the subsequent battles of Salamis and Plataea has been well known from its Herodotean source ever since; and the muscle-bound and blood-drenched deeds of the 300 have recently been made famous again by the movie of that name. The more recent sequel to 300 begins with a less accurate account of the Battle of Marathon; and, where the first movie ended with Plataea under way, Rise of an Empire ends with victory at Salamis all but won. Courses in Western or World History are likely to come upon the Persian Wars, and the recent popular movies might serve as an accessible and engaging introduction to these historical events and developments. But Herodotus’ account of how Xerxes came to his decision to invade Greece, with its consideration of politics, rhetoric, and religion, is, if not as thrilling, at least as telling. It tells the standard narrative of the conflict between East and West, and it tells of many ways in which the conflict was more complicated than that. It tells not just how the Greeks and Persians came to fight each other, but who the Greeks and Persians were that they might have fought, or not, but did.
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Wieczór, Miłosz, Adam Hospital, Genis Bayarri, Jacek Czub, and Modesto Orozco. "Molywood: streamlining the design and rendering of molecular movies." Bioinformatics 36, no. 17 (June 23, 2020): 4660–61. http://dx.doi.org/10.1093/bioinformatics/btaa584.
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Abstract Motivation High-quality dynamic visuals are needed at all levels of science communication, from the conference hall to the classroom. As scientific journals embrace new article formats, many key concepts—particularly, in structural biology—are also more easily conveyed as videos than still frames. Notwithstanding, the design and rendering of a complex molecular movie remain an arduous task. Here, we introduce Molywood, a robust and intuitive tool that builds on the capabilities of Visual Molecular Dynamics (VMD) to automate all stages of movie rendering. Results Molywood is a Python-based script that uses an integrated workflow to give maximal flexibility in movie design. It implements the basic concepts of actions, layers, grids and concurrency and requires no programming experience to run. Availability and implementation The script is freely available on GitLab (gitlab.com/KomBioMol/molywood) and PyPI (through pip), and features an extended documentation, tutorial and gallery hosted on mmb.irbbarcelona.org/molywood.
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Fuchs, Dieter. "Heinrich Mann's Small town tyrant : the Grammar School Novel as a German prototype of academic fiction." Acta Neophilologica 49, no. 1-2 (December 15, 2016): 63–71. http://dx.doi.org/10.4312/an.49.1-2.63-71.
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This article considers the German Grammar School Novel from the first half of the twentieth century an all but forgotten Germanophone prototype of campus fiction. Whereas the Anglo-American campus novel of the 1970s, 80s and 90s features university professors as future-related agents of Western counterculture and free thought, the Grammar School Novel satirizes the German grammar school teacher known as Gymnasialprofessor as a representative of the past-related order of the autocratic German state apparatus from the beginning of the twentieth century. As Heinrich Mann's 1905 novel Professor Unrat / Small Town Tyrant (the source text of Marlene Dietrich's debut movie The Blue Angel) may be considered a foundational work of the German Grammar School Novel corpus, the main part of the article offers a sample analysis of this text.
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Cowan, Gloria, Carole Lee, Daniella Levy, and Debra Snyder. "Dominance and Inequality in X-Rated Videocassettes." Psychology of Women Quarterly 12, no. 3 (November 1988): 299–311. http://dx.doi.org/10.1111/j.1471-6402.1988.tb00945.x.
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Feminists have been concerned about the debasement of women in sexually explicit material. The purpose of this study was to determine the extent of domination and sexual inequality in x-rated videocassettes through a content analysis of 45 widely available x-rated videocassettes. The sample was randomly drawn from a list of 121 adult movie titles widely available in family videocassette rental stores in southern California. Over half of the explicitly sexual scenes were coded as predominantly concerned with domination or exploitation. Most of the domination and exploitation was directed by men toward women. Specific indicators of domination and sexual inequality, including physical violence, occurred frequently. The growth of the videocassette rental industry and the popularity of x-rated films, coupled with the messages these films convey, is a cause for concern.
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Fareed, Aatika. "Western Modernism and the Fetishization of the Hijab: Deconstructing the Movie Hala." Film Matters 13, no. 1 (March 1, 2022): 39–55. http://dx.doi.org/10.1386/fm_00203_1.
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9/11 became the cursor in converting millions of Muslims into one homogeneous society ‐ what Edward Said describes as the “Christian picture of Islam.” This ongoing process scrutinized mainstream Muslims irrespective of their context/origins. Practicing Muslim women who adorned a headscarf, popularly known as hijab, came to be interpreted as being oppressed, irrespective of their social-economic or ethnic status since it went against the notions of western feminism, which extensively preached the idea of being liberal and free in all senses. This article attempts to discuss the obsession with the “unveiling of the veil” through the movie Hala (Baig, 2019) and explores how the degradation of Islam produces smeared representations, thereby justifying and glorifying western ideals and civilization as whole.
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Chapman, James. "Sheldon Hall, Zulu: With Some Guts Behind It – The Making of the Epic Movie." Journal of British Cinema and Television 3, no. 2 (November 2006): 379–82. http://dx.doi.org/10.3366/jbctv.2006.3.2.379.
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Sihombing, Lambok Hermanto. "The Stereotype of Batak Marriage Custom Represented in the Mursala Movie." Humanitatis : Journal of Language and Literature 8, no. 2 (July 1, 2022): 353–64. http://dx.doi.org/10.30812/humanitatis.v8i2.1926.
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Indonesia is a diverse country with a diverse range of tribes, religions, languages, and customs. Almost every region in Indonesia has its own uniqueness. Batak is one of the interesting tribes as it has unique custom to be analyzed especially their marriage custom. There are certain rules when Batak people have to find their couple. Those rules are depicted in Mursala movie. In this scientific study, the author aims to analyze the stereotype of Batak marriage represented in that movie, Mursala. In order to help the author doing this analysis, Mise En Scene approach from Manon de Reeper and Theory of Representation from Stuart Hall are used for this study. The result of this study indicates that this film represents the stereotype of Batak marriage which addresses Batak people should get married with Batak people and they are not allowed to marry the closest clan as it breaks their marriage customary law.
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Ahmad Toni, Ahmad, and Dwi Fajariko. "Studi Resepsi Mahasiswa Broadcasting Universitas Mercu Buana Pada Film Journalism “Kill The Messenger”." Jurnal Komunikasi 9, no. 2 (January 16, 2018): 151. http://dx.doi.org/10.24912/jk.v9i2.161.
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This study seeks to reveal receptions university student broadcasting beacon globe on film journalism. The purpose of this study to determine the meaning construction contents journalism-themed films through the movie shows them. The relations of meaning to the theme of movies they watch give you an idea about their opinions on the meanings contained in the movie scene. This study uses analysis reception Stuart Hall stated on the three main elements of meaning that is, the dominant meaning, the opposition of meaning and significance negotiations conducted by the subject studied. Construction of meaning built by the subject of research conducted with data triangulation technique, namely written questionnaires, interviews and discussions after watching the film so we get a more comprehensive picture of signification. The results showed that there are different meanings in one scene to scene ten dominated the meaning opposition to the meanings that awakened nature did the film. Next is the meaning of meaning on meaning construction negotiations in the tenth scene. Meaning become dominant meaning that does not give meaning to the subject of study of journalism movie theme. Penelitian ini berupaya untuk mengungkapkan resepsi mahasiswa broadcasting universitas mercu buana pada film jurnalistik, tujuan penelitian ini untuk mengetahui konstruksi makna isi film bertema journalism melalui tayangan film yang ditonton mereka, relasi pemaknaan dengan tema film yang mereka tonton memberikan gambaran tentang pendapat mereka pada makna-makna yang terdapat di dalam scene film. Penelitian ini menggunakan metode analisis resepsi Stuart Hall yang dinyatakan pada tiga elemen utama pemaknaan yakni, dominan makna, oposisi makna dan negosiasi makna yang dilakukan oleh subjek yang diteliti, konstruksi makna yang dibangun oleh subjek penelitian dilakukan dengan teknik triangulasi data, yakni daftar pertanyaan tertulis, wawancara dan diskusi setelah menonton film sehingga didapatkan gambaran pemaknaan yang lebih menyeluruh. Hasil penelitian menunjukan bahwa terdapat perbedaan pemaknaan pada scene satu hingga scene sepuluh yang didominasi pada pemaknaan opisisi terhadap makna-makna yang terbangun did alam film, pemaknaan berikutnya ialah pemaknaan negosiasi terhadap makna yang dibanun di dalam kesepuluh scene, pemaknaan dominan menjadi pemaknaan yang tidak memberikan arti kepada subjek penelitian terhadap tema film journalism.
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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SATTERLIE, RICHARD A., MICHAEL LABARBERA, and ANDREW N. SPENCER. "Swimming in the Pteropod Mollusc, Clione Umacina: I. Behaviour and Morphology." Journal of Experimental Biology 116, no. 1 (May 1, 1985): 189–204. http://dx.doi.org/10.1242/jeb.116.1.189.
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In the pteropod mollusc Clione limacina (Phipps), swimming is accomplished through alternate dorsal and ventral flexions of a pair of strongly muscularized wing-like parapodia (wings). Wing musculature is arranged in seven muscle groups. The two outer most dorsal and ventralgroups produce the bending movements of swimming. The three innermuscle groups include longitudinal and transverse wing retractors and dorsoventral muscles. The overall muscle arrangement is similar to that of the generalized mollusc foot. During hovering locomotion the wings pronate on downstroke and supinate on upstroke to produce a maximal angle of attack of 42° for both phases. Wing tips nearly touch or overlap in the saggital plane at the extreme of each half-cycle. High speed movie analysis of hovering swimming indicates that upstroke and downstroke are nearly symmetrical. It is suggested that wings produce lift in both wing phases. We estimate from wing dimensions and velocity measurements that the Reynolds number of the wings is approximately 200. A novel lift-generating mechanism, similar to the ‘clap-and-fling’ of insects, may be utilized by the Clione wing to generate lift throughout the wing cycle despite the reversal of wing movement in each half-stroke. Note: A significant portion of this work was conducted at Friday Harbor Laboratories, Friday Harbor, Washington.
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Zvegintseva, Irina A. "Two Peoples, Two Worlds." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 125–34. http://dx.doi.org/10.17816/vgik84125-134.
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By the time of the arrival of Europeans in the continent during the second half of the 18th century, the aboriginal tribes that inhabited Australia were under the primeval communal system. Their settlements became an easy conquering for the first aliens. Aborigines of Australia met the invaders quite friendly, providing virtually no resistance and the letters benefited immediately. There appeared a clash of two cultures, two worldviews. On the one hand, the absolute merging with nature, harmonious existence, which for centuries hadnt undergone any changes, and hence a complete tolerance to everything that didnt disturb the established order of the world; on the other hand - consumerist attitude to the land, the desire to get rich, tough competition. Naturally, such polar positions to combine turned out to be impossible, and without a desire to understand the natives who were moved out of their lands, the invaders hastened to announce the aborigines the second-class citizens. Of course, the national cinema couldnt avoid the most urgent problem of the Australian society. But if the first works of filmmakers of the past were focused more on the exotics, mystical rites, dances, daily life of aborigines, in recent years increasingly serious movies are on, and the authors call for a change in attitude to the natives, respect their culture, recognize their equal rights. Analysis of the best movies devoted to these problems, such as Jeddah, Manganese, Fence from rabbits, Charlies land and some others has become the focus of the article. Mainly under the influence of these movies the situation in the country has begun to change for better. Today in the film industry the aborigines have been working, and the movie Samson and Delilah, directed by aborigine Warwick Thornton/ has been a sensation at the Cannes film festival of 2009.
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Yang, Wei, and Zidan Zhou. "Exploration on the Innovative Inheritance of Lang Zhong Shadow Puppetry Modernization." Highlights in Art and Design 1, no. 3 (December 24, 2022): 101–5. http://dx.doi.org/10.54097/hiaad.v1i3.3934.
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"A piece of cowhide has pleasure, anger, sorrow, joy, and half the face show loyalty, guile, good and evil", when the light passes through the figure silhouette made from cowhide, the phenomena in the world are projected on a piece of white cloth, and the oldest "movie" in the world starts. For hundreds of years, shadow puppetry has gradually spread with the performance of folk artists everywhere, due to the different customs and habits everywhere, it has begun its own localization process, especially Wang Shadow Puppetry in northern Sichuan. However, the inheritance of traditional intangible cultural heritage in modern society has encountered bottleneck: how to keep pace with the times and pass shadow puppetry culture to the public who are embracing, especially in the "leadership" new era of the post-90s and post-00s, how to make this "emerging force" develop into the main "carrier" of this folk-art communication.
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Al-anbiya, Dzulfikar, Aquarini Priyatna, and R. M. Mulyadi. "REPRESENTASI MUSIK SEBAGAI SEBUAH IDEOLOGI DI PESANTREN DALAM FILM BAIK-BAIK SAYANG." Patanjala : Jurnal Penelitian Sejarah dan Budaya 10, no. 3 (November 8, 2018): 403. http://dx.doi.org/10.30959/patanjala.v10i3.432.
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Artikel ini membahas musik di pesantren yang direpresentasikan sebagai sebuah ideology dalam film Baik-Baik Sayang.Perdebatan ideologi yang membolehkan dan melarang musik masih diperdebatkan di kalangan ulama dapat diargumentasikan sebagai manifestasi ideologi sebuah instansi pendidikan berbasis agama Islam tertentu. Perdebatan ideologi tersebut direpresentasikan dalam film Baik-Baik Sayang dengan mengangkat cerita perjalanan sebuah band musik bernama Wali yang dibentuk di Pesantren La Tansa. Penelitian ini menggunakan pendekatan kualitatif dengan konsep media representasi Stuart Hal dan kajian sinema. Penelitian ini menunjukkan bahwa film merepresentasikan musik sebagai ideologi secara biner. La Tansa dan Band Wali merupakan representasi ideologi yang membolehkan musik di pesantren. Ideologi yang berlawanan direpresentasikan melalui tokoh antagonis. Film juga merepresentasikan fenomena bentuk ideologi lain yang lebih negosiatif dalam sosok ayah Fa’ank.This article explains music within pesantren, which is represented as an ideology in the movie Baik-Baik Sayang. Ideological debates about legalizing and prohibiting music among Muslim theologian can be argued as ideology manifestation from certain Islamic educational institute. Those ideology debates are represented in movie Baik-Baik Sayang that tells the story about a music band called Wali, which is formed within pesantren La Tansa. This research uses qualitative approach using the concept of media representation proposed by Stuart Hall and cinema studies. This research shows that movie representing music as ideology binary. La Tansa and Band Wali are the representation of ideology that legalizing music within pesantren. The contradiction ideology is represented by an antagonistic role. This movie also representing another ideology form, which is more negotiable within Ayah Fa'ank role
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Ovitamaya, Eklesia. "RESEPSI PENONTON REMAJA FILM DUA GARIS BIRU TENTANG ISU PENDIDIKAN SEKS." Jurnal Audience 4, no. 01 (March 24, 2021): 73–85. http://dx.doi.org/10.33633/ja.v4i01.4232.
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AbstrakFilm Indonesia yang mengangkat isu tentang pendidikan seks masih dianggap tabu. Pada sisi yang lain, sebagai media alternatif, pesan dalam film dapat dipahami dengan mudah oleh para penontonnya. Penelitian ini membahas resepsi penonton remaja film Dua Garis Biru tentang isu pendidikan seks. Penelitian ini menggunakan kerangka encoding-decoding Stuart Hall untuk menganalisis pemakanaan audiens dari setiap adegan dalam film. Temuan data menunjukkan bahwa audiens terbagi ke dalam tiga kelompok pembacaan: dominan hegemonik, negosiasi, dan oposisi. Posisi pembacaan penonton ini dipengaruhi oleh latar belakang dan pengalaman dari para penonton remaja. Selain itu, para penonton menginterpretasikan film Dua Garis Biru tidak hanya memberikan pesan tentang pendidikan seks, melainkan juga kesetaraan gender, nilai-nilai yang dipegang, dan bagaimana lingkungan keluarga memberikan pendidikan seks kepada para remaja.Kata Kunci: Encoding-decoding, Film, Pendidikan Seks, Remaja, Resepsi Audiens.AbstractIn Indonesia, movies that bring sensitive issues such as sex education was previously considered taboo. On the other hand, as an alternative media that is easily understood by the audience, movies are used as one of the most effective means of delivering messages. This study aimed to determine the reception of Dua Garis Biru's teenage audiences about sex education issues. This study used Stuart Hall's encoding-decoding analysis method to determine the audiences’ meaning of each scene in the movie.The findings show that the reception of the film audience of Dua Garis Biru showed three reading positions. There were dominant reading, negotiation reading, and opposition reading. The position of the reading was highly influenced by the background and experiences of teenage audiences. Furthermore, the audiences interpret Dua Garis Biru movie as giving the messages about sex education issues but also gender equality issues, the values of the beliefs held, and how the family provided sexual education to the teenagers.Keyword: Audiences reception, Encoding-Decoding, Movie, Sex Education, Teenagers.