Conclusion

2017 ◽  
Author(s):  
John Tulloch ◽  
Belinda Middleweek
Keyword(s):  
Textual Analysis ◽  
Film Studies ◽  
Mutual Understanding ◽  
Critical Geography ◽  
Interdisciplinary Perspective ◽  
Perspective Drawing ◽  
Mise En Scene ◽  
Cinematic Experience

This book has provided a new reading of the transformation of intimacy that can be found in real sex films using an interdisciplinary perspective drawing on new risk sociology; feminist critical geography; and literary and film studies concepts such as structure of feeling, narrative, genre, stardom, social audience, spectatorship, and mise en scène. In this pursuit the book has incorporated a bricoleur methodology of social audience and textual analysis and devised a “soft ethnography” to explore the different authorial signatures on a filmic text. By viewing real sex cinema through a variety of theoretical, empirical, sociohistorical, and reflexive lenses, it has suggested ways that readers can bring to the cinematic experience their own search for a mutual understanding of ideas and perspectives and yet also, like our social audience groups in their discussions with one another, a sense of critical extension as well.

scholarly journals Cinematic Representation of Chinese-Indonesians’ Trauma in Jason Iskandar The Day The Sky Roared

2019 ◽  
Vol 13 (4) ◽  
pp. 275
Author(s):  
Anton Sutandio
Keyword(s):  
Visual Analysis ◽  
Film Studies ◽  
Historical Trauma ◽  
Silent Film ◽  
Short Film ◽  
Trauma Studies ◽  
Mise En Scene ◽  
Different Levels

This research analyzed a contemporary independent Indonesian film entitled The Day the Sky Roared (2015) that was directed by Jason Iskandar. This 10-minute silent film talked about the anxiety of Chinese-Indonesians through the eyes of a mother and her daughter regarding the historical trauma of the May 1998 tragedy. The fact that the film was produced about 17 years after the tragedy suggested the director’s awareness that the trauma remained due to the absence of reconciliation and closure. This research would show how the short film frames the incident and trauma of the Chinese-Indonesians. The research was a combination of trauma studies and film studies that focuses on the visual analysis of the film’s cinematography and mise-en-scene to show the cinematic representation of Chinese-Indonesians’ trauma. The findings show that the portrayal of Chinese-Indonesians still strongly suggests unrelieved psychological discomfort, albeit, at different levels, that is closely related to the traumatic past and the pervasive stereotyping of Chinese-Indonesians. 

Residue: The privilege of spatiality in the puzzle film

2020 ◽  
Vol 18 (1) ◽  
pp. 19-41
Author(s):  
Zachary Vickers
Keyword(s):  
Cognitive Processes ◽  
Cognitive Process ◽  
Textual Analysis ◽  
Mise En Scene ◽  
Close Textual Analysis ◽  
Production History ◽  
Christopher Nolan ◽  
Narrative Techniques ◽  
Production Crew ◽  
Over Time

Typical discourses around the puzzle film ‐ a genre that typically eschews classic storytelling for more complex narrative techniques, such as entangled secondary/tertiary plotlines, and characters with mental or psychological instability ‐ often privilege the manipulation of the film’s temporality and narratology. However, in this article, I perform a close textual analysis of the mise en scène of Inception by Christopher Nolan (2010) and Eternal Sunshine of the Spotless Mind (2004) by Michel Gondry to demonstrate how these puzzle films privilege spatiality over time and plot to depict cognitive processes associated with mental and psychological instability, thereby bringing attention to an underrepresented attribute of the genre. I focus on the influence of surrealism on mise en scène, as surrealist art and cinema manipulate space to explore the psyche. I also draw on these films’ production history to show how the filmmakers, production crew and actors understood approaches to space as a cognitive process.

Intimacy and Romance in Film Theory

2017 ◽  
Author(s):  
John Tulloch ◽  
Belinda Middleweek
Keyword(s):  
Detailed Analysis ◽  
Textual Analysis ◽  
Film Theory ◽  
Mutual Understanding ◽  
Historical Understanding ◽  
Mapping Theory

Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.

scholarly journals The virtual cultural tourist: Film-induced tourism and Kubo and the Two Strings

2021 ◽  
pp. 3-20
Author(s):  
Dennis Yeo
Keyword(s):  
Film Studies ◽  
Japanese Culture ◽  
Tourist Destination ◽  
The Past ◽  
Culture History ◽  
Destination Choices ◽  
Cinematic Experience ◽  
Stop Motion ◽  
Cultural Tourist

Over the past two decades, there has been growing research in film-induced tourism. Much of this research is focused on how film influences tourist destination choices. There has been less emphasis, however, on the nature and types of movies that may induce this attraction to such locations. By examining Kubo and the Two Strings (Knight, 2016), a stop-motion animation produced by Laika Studios, this paper aims to apply film studies to explore current understandings of film-induced tourism. This paper argues that Kubo is itself a form of film-induced tourism by positioning the viewer as a virtual cultural tourist whose cinematic experience may be likened to a veritable media pilgrimage through Japanese culture, history and aesthetics. The movie introduces the viewer into an imagined world that borrows from origami, Nō theatre, shamisen music, obon rituals and Japanese symbolism, philosophy and mythology. The resulting pastiche is a constructed diorama that is as transnational and postmodern as it is authentic and indigenous.

scholarly journals AVT as intercultural mediation

Multilingua ◽  
2019 ◽  
Vol 38 (5) ◽  
pp. 495-504 ◽  
Author(s):  
Marie-Noëlle Guillot ◽  
Maria Pavesi
Keyword(s):  
Film Studies ◽  
Translation Studies ◽  
Cross Cultural ◽  
Special Issue ◽  
Interdisciplinary Perspective ◽  
The Cross ◽  
Audiovisual Translation ◽  
The Relationship ◽  
Cultural Pragmatics

Abstract This article addresses a question central for this special issue of Multilingua on audiovisual translation (AVT) – of the relationship between the cross-cultural and the intercultural in audiovisual translation. The question underpins fundamental debates in the emergent field of AVT as cross/intercultural mediation, the focus in this volume, with subtitling and dubbing the two main interlingual modes considered in its pages from an interdisciplinary perspective embracing translation and audiovisual translation studies, pragmatics and cross-cultural pragmatics and film studies. The article doubles up as the introduction for the special issue, and provides its rationale and contents.

scholarly journals From the medicalisation of dementia to the politics of memory and identity in three Spanish documentary films: Bicicleta, cullera, poma, Las voces de la memoria and Bucarest: la memòria perduda

2013 ◽  
Vol 34 (10) ◽  
pp. 1688-1710 ◽  
Author(s):  
RAQUEL MEDINA
Keyword(s):  
Cultural Studies ◽  
Documentary Film ◽  
Film Studies ◽  
Social Contexts ◽  
Documentary Films ◽  
Politics Of Memory ◽  
Spanish Society ◽  
Interdisciplinary Perspective ◽  
The Aesthetic ◽  
Contemporary Spain

ABSTRACTThis paper explores how the concept of Alzheimer's disease (AD) is constructed through Spanish media and documentary films and how it is represented. The article analyses three documentary films and the cultural and social contexts in and from which they emerged: Solé's Bucarest: la memòria perduda [Bucharest: Memory Lost] (2007), Bosch's Bicicleta, cullera, poma [Bicycle, Spoon, Apple] (2010) and Fabrá, Peris and Badia's Las voces de la memoria [Memory's Voices] (2011). The three documentary films approach AD from different perspectives, creating well-structured discourses of what AD represents for contemporary Spanish society, from medicalisation of AD to issues of personhood and citizenship. These three films are studied from an interdisciplinary perspective, in an effort to strengthen the links between ageing and dementia studies and cultural studies. Examining documentary film representations of AD from these perspectives enables semiotic analyses beyond the aesthetic perspectives of film studies, and the exploration of the articulation of knowledge and power in discourses about AD in contemporary Spain.

Through Scandinavia, Darkly: A Criminological Critique of Nordic Noir

2020 ◽  
Vol 61 (1) ◽  
pp. 1-21
Author(s):  
Keith J Hayward ◽  
Steve Hall
Keyword(s):  
Crime Fiction ◽  
Television Drama ◽  
Cultural Criminology ◽  
Cultural Expression ◽  
Narrative Style ◽  
Perspective Drawing ◽  
Mise En Scene ◽  
Complex Characterization ◽  
Late Modern ◽  
International Phenomenon

Abstract Nordic noir is a popular crime genre associated with a region (Scandinavia), a narrative style (unpretentious/socially critical) and a particular aesthetic look (dark/foreboding). Renowned for its psychologically complex characterization and gloomy Mise-en-scène, and spanning best-selling crime fiction, film, and globally successful television drama, Nordic noir has mushroomed from regional niche market to international phenomenon in little more than a decade. A review of both popular and academic accounts of the genre suggest that much of Nordic noir’s appeal comes from its supposed ‘gritty’ or ‘realist’ account of Scandinavian society. This paper, however, adopts a different perspective. Drawing on cultural criminology, ultra-realism and Lacanian psychoanalytic theory, we argue that, rather than accurately reflecting the complex social and political problems currently confronting late modern Scandinavian welfare societies, Nordic noir has lost its grip on realism and any meaningful association with actual/established Scandinavian values. Instead, Nordic noir is now functioning as a displacement narrative, a form of cultural expression that allows artists, producers and their audiences to push the region’s social problems outside the realm even of the Imaginary.

scholarly journals Sugiharti Halim (2008): A Cinematic Portrayal of Chinese Indonesian's Ambiguous Identity

2021 ◽  
Vol 10 (2) ◽  
pp. 59-68
Author(s):  
Christina - Christina
Keyword(s):  
Ethnic Group ◽  
Textual Analysis ◽  
Theoretical Perspective ◽  
New Order ◽  
Independent Films ◽  
Chinese Identity ◽  
Mise En Scene ◽  
Close Textual Analysis ◽  
Female Protagonist ◽  
Insight Into

Sugiharti Halim (2008) provides a cinematic insight into the lives of Chinese Indonesians whose identities are perpetually labeled as liyan (other) in the eyes of the inlanders (pribumi). It narrates the story of Sugiharti Halim, a Chinese Indonesian girl, who struggles with her Indonesian sounding name which, instead of successfully assimilating her Chinese identity, makes her even more Chinese than before. This study aims to investigate the cinematic portrayal of Chinese Indonesian’s ambiguous identity as experienced by the female protagonist. The writer employs close textual analysis of the indie film and approaches the issue by the reading of cinematic codes (mise en scene) and the theoretical perspective of name giving developed by Watzlawik in 2016. The conflict highlited in this “indie” criticizes the position of Chinese filmmaker for being pigeoholed on the ground of their ethnicity as portrayed in most commercial films which put Chinese more as a marginalized group. Therefore, the study reveals that films have become a new means of politicizing the interest of certain ethnic group which somehow puts the Chinese Indonesians in their most vulnerable position. The study also concludes that independent films help the young Chinese filmmakers to reconnect with their Chinese heritage as they begin to pick up bits of their Chineseness which were previously miscontrued by the inherited ideals of the New Order regime.

scholarly journals An Analysis on Ambivalence in Cinema: “The Last Tycoon” Elia Kazan

Etkileşim ◽  
2019 ◽  
Vol 2 (4) ◽  
pp. 220-235
Author(s):  
Besna Ağın
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Research Field ◽  
American Film ◽  
Final Phase ◽  
Mise En Scene ◽  
Streetcar Named Desire ◽  
A Streetcar Named Desire ◽  
American Film Industry ◽  
Elia Kazan

Involved in filmmaking more than four decades, Elia Kazan had been a witness and an influence for significant change in the American film industry. His final phase includes four films, respectively, America America, The Arrangement, The Visitors and The Last Tycoon which are his most neglected films in film studies, compared to his previous successful films such as On the Waterfront, A Streetcar Named Desire, East of Eden and Splendor in the Grass. This study has focused on one of his late films for mainly two reasons; to fill the gap in the literature and present an analyses of Kazan’s most structurally different film regarding its narrative complexities with the concept of realism. Realism is one of the key concepts to study Kazan in the research field, but distinctively, I have tried to find the realism within the mise-en-scène and ambivalence in the narrative.

The ‘impure’ auteur

2017 ◽  
Author(s):  
Ben McCann
Keyword(s):  
Film Studies ◽  
Audience Reception ◽  
Film Production ◽  
National Cinema ◽  
Music Production ◽  
Mise En Scene ◽  
History Of ◽  
And Performance ◽  
Film Making ◽  
Historical Range

This opening chapter will contextualise the ‘Duvivier style’. It will look at his chief formative influence, André Antoine, whose influential theories on cinematic naturalism, location shooting, and performance authenticity was cultivated and developed by Duvivier throughout his career. The chapter will examine what makes a Duvivier film. Historians often make reference to Duvivier’s love of ‘work well done’ as his signature legacy and enduring film-making ethos. The chapter will introduce the key recognisable Duvivier traits: an expressive mise en scène, fluid camera movement and a complex negotiation of décor, strong central performances by stars and new actors, pessimistic narratives, incorporation of melodramatic elements (music, production design), and a film-by-film reliability. This analysis of Duvivier, beyond its historical range, also proposes to engage with key debates in film studies: notably auteurism, stardom and audience reception. The chapter will also look at how Duvivier fits into a history of both French national cinema and international film production. Duvivier’s genre eclecticism and lack of a coherent corpus should not be seen as a negative; instead, it is necessary to read Duvivier’s wide-ranging approach to genre and subject matter as a response to and engagement with important development in French and international film praxis.

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