scholarly journals BOAZ HAGIN’S PHILOSOPHY OF DEATH AS REFLECTED IN THE HUNGER GAMES TRILOGY FILMS

2021 ◽  
Vol 8 (1) ◽  
pp. 38
Author(s):  
Hidayatul Nurjanah

The Hunger Games is one of Hollywood films that contains deaths and deadly scenes throughout its trilogy. There are plenteous meanings of deaths that can be analyzed from the films, which will develop new meanings and definitions of deaths as an interesting topic to discuss. The researcher employed Boaz Hagin's framework of death because Hagin provides a framework about deaths and how deaths can be meaningful. In his book, he writes a broader range of philosophical description about deaths in Classical Hollywood Cinema which explores the morality and ethical values of mainstream films that portrays death as a meaningful part of life. The research problem is what is the meaning of deaths found in Hunger Games using Hagin’s framework of deaths. This research was conducted using a descriptive qualitative approach aiming at describing the phenomenon and characteristics. The data collected qualitatively by examining them throughout to get relevant issues and ideas and classify them. The findings show that death can bring meanings to characters in the films, such as a death in line where death means as a savior for their beloved ones, death as politic seen from the characters' past life that brings hope for the future, death as the Access, Authority, and Test, can be seen from how the characters use their talent to survive.

2021 ◽  
Vol 11 (2) ◽  
pp. 177-193 ◽  
Author(s):  
Audun Engelstad

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.


Author(s):  
Todd Berliner

Chapter 2 illustrates an aesthetically productive balance between easy understanding and cognitive challenge in classical Hollywood cinema with extended analyses of His Girl Friday and Double Indemnity. These films combine classical narrative, stylistic, ideological, and genre properties with artistic devices that complicate formal patterning and thwart audience expectations.


Author(s):  
Laura Heins

This chapter attempts to delineate the generic and aesthetic differences between film melodrama in Third Reich and classical Hollywood cinema, and to a lesser extent, between German and Italian Fascist film. Hollywood cinema's greater emphasis on the communicative codes of mise-en-scène, dynamic editing, and camera movement was countered in Nazi cinema with a greater stress on bodily displays and a theatrical acting style that subordinated the intimacy of the face in close-up to the authority of the actor's voice and scripted dialogue. Subtle formal and narrative differences in the Nazi melodrama also encouraged a more aggressive form of voyeurism than was common in the Hollywood melodrama. Instead of the masochistic aesthetic of many Hollywood melodramas, therefore, the Nazi melodrama distinguished itself by its formally encoded appeals to spectatorial sadism and by the masculinity of its pathos.


Author(s):  
David Bordwell ◽  
Janet Staiger ◽  
Kristin Thompson

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