scholarly journals ENGLISH- STEREOTYPING OF ISLAM AND MUSLIMS IN HOLLYWOOD MOVIES: AN ANALYSIS OF REPRESENTATION

2020 ◽  
Vol 6 (1) ◽  
Keyword(s):  
Hollywood Movies

Re-Presentations of Space in Hollywood Movies

2013 ◽  
Author(s):  
James E. Cutting ◽  
Catalina Iricinschi
Keyword(s):  
Hollywood Movies

‘Good enough for a spot of lippy anyway’: Rape and the Body Politic in My Brother Tom

2013 ◽  
Vol 10 (2) ◽  
pp. 358-373
Author(s):  
Louise Wilks
Keyword(s):  
Sexual Abuse ◽  
Female Body ◽  
Body Politic ◽  
The Body ◽  
Sexual Violation ◽  
Female Protagonist ◽  
British Cinema ◽  
Hollywood Movies ◽  
Contemporary Cinema ◽  
Rape Narratives

The representation of rape continues to be one of the most highly charged issues in contemporary cinema, and whilst many discussions of this topic focus on Hollywood movies, sexual violation is also a pervasive topic in British cinema. This article examines the portrayal of a female's rape in the British feature My Brother Tom (2001), a powerful and often troubling text in which the sexual violation of the teenage female protagonist functions as a catalyst for the events that comprise the plot, as is often the case in rape narratives. The article provides an overview of some of the key feminist academic discussions and debates that cinematic depictions of rape have prompted, before closely analysing My Brother Tom's rape scene in relation to such discourses. The article argues that the rape scene is neither explicit nor sensationalised, and that by having the camera focus on Jessica's bewildered reactions, it positions the audience with her, and powerfully but discreetly portrays the grave nature of sexual abuse. The article then moves on to examine the portrayal of sexual violation in My Brother Tom as a whole, considering the cultural inscriptions etched on the female body within its account of rape, before concluding with a discussion of the film's depiction of Jessica's ensuing methods of bodily self-inscription as she attempts to disassociate her body from its sexual violation.

Comedy and the Athenian Ideal

2018 ◽  
Author(s):  
David Konstan
Keyword(s):  
American Democracy ◽  
Intended Audience ◽  
The World ◽  
Hollywood Movies ◽  
Hellenistic World ◽  
City State ◽  
The City ◽  
New Comedy ◽  
A Performance

New Comedy was a Panhellenic phenomenon. It may be that a performance in Athens was still the acme of a comic playwright’s career, but Athens was no longer the exclusive venue of the genre. Yet Athens, or an idealized version of Athens, remained the setting or backdrop for New Comedy, whatever its provenance or intended audience. New Comedy was thus an important vehicle for the dissemination of the Athenian polis model throughout the Hellenistic world, and it was a factor in what has been termed ‘the great convergence’. The role of New Comedy in projecting an idealized image of the city-state may be compared to that of Hollywood movies in conveying a similarly romanticized, but not altogether false, conception of American democracy to populations around the world.

scholarly journals Notes from the Editor

2004 ◽  
Vol 98 (2) ◽  
pp. iii-viii
Keyword(s):  
Three Dimensional ◽  
Question Wording ◽  
Hollywood Movies ◽  
The Mind ◽  
Lead Article

Readers of a certain age who are still able to summon up memories of those thrilling days of yesteryear may recall that the previews for Hollywood movies used to feature such come-ons as “Years in the making!,” “With a cast of thousands!,” and “In living color!” The articles in this issue of the APSR may or may not have been years in the making, though I am pleased to attest that the review and production phases of their creation fell well short of epic proportions. Nor, although some of these articles are co-authored, did their dramatis personae ever exceed a sub-DeMillean three. As Louis B. Mayer might have said, though, color we've got. As usual, our cover shimmers. But this time the color comes in multiple hues rather than the normal monochrome, and the color can be found not just on the cover but in our lead article as well, where the cover graphic reappears along with several multi-color accompaniments. Where, the traditionalists among us may wonder, will it all end? Brightly colored covers were bad enough—but when the next issue of the APSR arrives, should three-dimensional scattergrams be expected to pop up out of its pages? Will question-wording appendixes be intoned in the basso profundo of James Earl Jones? Will the textual analyses self-deconstruct? The mind boggles; the slope is slippery; a little color is a dangerous thing.

scholarly journals City Lights: corneal diseases in Hollywood movies

2017 ◽  
Vol 52 (3) ◽  
pp. e85
Author(s):  
Michele Augusto Riva ◽  
Luca Cambioli ◽  
Chiara Paris ◽  
Giancarlo Cesana
Keyword(s):  
Hollywood Movies

Learning to Love McDonald's, Coca-cola, and Disneyland Paris

2000 ◽  
Vol 21 (1) ◽  
pp. 129-149
Author(s):  
Richard Kuisel
Keyword(s):  
Ice Cream ◽  
Hollywood Movies

Have the French been Americanized? Even the casual American tourist in Paris must notice McDonald's Golden Arches. Baskin-Robbins ice cream parlors, Gap stores, Calvin Klein boutiques, cinema marquees advertising the latest Hollywood movies, and teenagers wearing Yankee baseball caps. But what does the presence of so many American products mean?

scholarly journals Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market

2018 ◽  
Vol 3 (3) ◽  
pp. 177-194 ◽  
Author(s):  
Xu Song
Keyword(s):  
Relationship Management ◽  
Revenue Sharing ◽  
Box Office ◽  
Management Perspective ◽  
Hollywood Movies ◽  
To Receive ◽  
Box Office Performance

China’s cinema market has been growing dramatically in recent years. Hollywood exports revenue-sharing movies to China to receive additional box-office revenues. Although globalization accelerates Hollywood movies’ domination in most global film markets, that is not the case in China. Hollywood studios encounter cultural and political complications in China’s cinema market. This research reviews the interplay of Hollywood globalization and the complexity of China’s cinema market, applies a relationship management perspective in analyzing Hollywood studios’ China-focused endeavors, identifies and discusses five key relations, and analyzes why and how Hollywood studios have strategically managed the key relations to boost their revenue-sharing movies’ box-office performance in China.

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