Validación y aplicación de un instrumento para el análisis de estereotipos de género en largometrajes de dibujos animados

2021 ◽  
Author(s):  
Elia Saneleuterio ◽  
Sandra Soler-Campo
Keyword(s):  
Gender Stereotypes ◽  
Female Gender ◽  
Television Series ◽  
Five Dimensions ◽  
Feature Films ◽  
Short Films ◽  
Animated Films ◽  
Objective Validity

The process of design and validation of the content and structure of a tool for the analysis of gender stereotypes applicable to feature films, short films, and television series, both realistic and cartoonish, is presented. The model is called EG_5x4 and consists of five dimensions (corporal, attitudinal, social, affective-sexual, and audiovisual), being novel because of its distribution into four pairs of items per category. The methodological process began with the writing, based on previous instruments on gender stereotypes, of a draft of the items, which were distributed in dimensions and organized in pairs to be able to independently relate each statement to the male and/or female gender. This draft was evaluated by 35 experts (inter-judge validation). The global results of this phase determined the objective validity of the construct (CVI of 0.709 points). The qualitative contributions were considered, and the final writing and design of the instrument was reviewed, being applied to the analysis of 23 animated films. The coincidence in the items (analyzed separately by two researchers) and the wealth of nuances in the results led to the conclusion that the EG_5x4 instrument is valid and reliable for analysis of gender stereotypes in the audiovisual field. Resumen Se presenta el proceso de diseño y validación del contenido y estructura de un instrumento de análisis de estereotipos de género aplicable a largometrajes, cortometrajes y series de televisión, tanto realistas como de dibujos animados. Se trata de un modelo denominado EG_5x4, constituido por 5 dimensiones (corporal, actitudinal, social, afectivo-sexual y audiovisual) y que resulta novedoso por su distribución en 4 parejas de items por categoría. El proceso metodológico se inició con la redacción, a partir de instrumentos previos sobre estereotipos de género, de un borrador de los enunciados, que se distribuyeron en dimensiones y se organizaron en parejas para poder relacionar de manera independiente cada afirmación con el género masculino y/o femenino. Este borrador se sometió a evaluación por 35 personas expertas (validación interjueces). Los resultados globales de esta fase determinaron la validez objetiva del constructo, pues arrojaron un CVI de 0,709 puntos. Se consideraron las aportaciones cualitativas y se revisó la redacción y diseño finales del instrumento, que se aplicó al análisis de 23 filmes animados. La coincidencia en los items (analizados separadamente por parte de dos investigadoras) y la riqueza de matices en los resultados llevan a concluir que el instrumento EG_5x4 es válido y fiable para el análisis de estereotipos de género en el ámbito audiovisual.

Nicht nur Slapstick: Stummfilme als unterschätzte Zeugen der Medizingeschichte

2020 ◽  
Vol 145 (25) ◽  
pp. 1818-1827
Author(s):  
Dennis Henkel ◽  
Eelco M. Wijdicks ◽  
Axel Karenberg
Keyword(s):  
Medical Profession ◽  
Silent Film ◽  
Turn Of The Century ◽  
Short Film ◽  
X Rays ◽  
Silent Cinema ◽  
Feature Films ◽  
Illegal Abortion ◽  
Art Form ◽  
Short Films

AbstractMedicine in silent film has a long history. Although the silent era in cinema was dominated by burlesques (using escaped “lunatics”) a number of themes emerged after systematic review. The cinematic representation of medicine coincided with the discovery of X-rays. During this “roentgenomania”, short films were produced showing groundbreaking X-ray images, which fitted perfectly into needs of dramatic cinema. But soon the “cinema of narration” evolved: Starting just after the turn of the century, the short film “The Country Doctor” was able to address complex interplay between duties and limitations of the medical profession. This was followed by numerous feature films on infectious diseases, which often used tuberculosis as a centerpiece of its story. Directors often took advantage of the well-known stereotype of the omnipotent physician. But in certain medical fields, such as psychiatry or surgery, a more ambivalent figure of the doctor was portrayed, f. e. in “Hands of Orlac” (1924). Silent cinema also offered interesting ideas on the healing powers of the medium itself: in “The Mystery of the Kador Cliffs” (1912) a film screening could cure the patient of fears after reenactment. Finally, a closer look at the early era of film echoes how social conflicts where dramatized, especially in the case of nationwide birth control. How illegal abortion kept the society on its edge, was most clearly shown in the adaption of the scandalous play “Cyankali” (1930).In addition to discussing various topics in the cinematic representation of medicine, this brief overview shows that silent movies were a new and true art form, representing an exceptional resource for historians of film and medicine.

scholarly journals Advertising Gender Performance: How Femvertising Represents Women

Inter ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 63-88
Author(s):  
Elizaveta Panarina
Keyword(s):  
Gender Stereotypes ◽  
Social Problems ◽  
Domestic Work ◽  
Female Gender ◽  
Gender Performance ◽  
Communication Strategy ◽  
Gender Representations ◽  
Self Confidence ◽  
Female Image ◽  
New Generation

The article analyzes the phenomenon of femvertising as a marketing and communication strategy aimed at women, ideologically inspired by feminisms, destroying gender stereotypes. It is contrasted with advertisements that exploit the female image, sexualize women or show women in the context of only domestic work. Based on the works of E. Becker-Herbie, M. Mendenez, K. Linder, as well as I. Goffman, the article analyzes female gender displays in advertising for the Russian audience. The repertoire of analyzed gender representations in advertising demonstrates the content of femvertising: from a set of social problems that oppress women to a broadcast discourse of strength, independence, solidarity and self-confidence. The question that remains open is whether femvertising can sell as well as it can mobilize a new generation of forward thinking.

Towards a Journey Narrative Syntax

2018 ◽  
pp. 41-62
Author(s):  
Christopher Holliday
Keyword(s):  
Narrative Structure ◽  
Narrative Form ◽  
First Line ◽  
Hollywood Cinema ◽  
Short Films ◽  
Animated Films ◽  
Film Series ◽  
Virtual Experiences ◽  
Narrative Syntax

This chapter moves forward by unpacking the generic identity of computer-animated films and examines the journey narrative structure as their prevailing syntax and first line of action. In this chapter, two forms of narrative are established that are widely operational within the genre. The first of these are the “flushed away” narratives that rely upon on abrupt geographical disjuncture, and which often requires the protagonist to negotiate and quickly adapt to a foreign milieu. The second journey narrative form advanced in this chapter is the “over the hedge” narrative, which are voyages signalled as altogether more prepared or expected. This chapter explores in detail how computer-animated films deploy these two forms of journey narrative structure to interrogate ideas of mobility, location, destination and tourism through the virtual experiences they offer of travelled space. Chapter Two concludes by positioning the journey narrative within the context of film franchising and the “sequelled” narrative. Computer-animated films rarely exists in isolation, but are supported by a range of sequels, spin-offs and short films. This chapter identifies how narrative structure can be productively entwined with the wider role of film series and cycles that continues to define the franchise mentality of post-millennial Hollywood cinema.

The Race Relations Narrative in British Film

2017 ◽  
Author(s):  
Amanda Bidnall
Keyword(s):  
Race Relations ◽  
West Indian ◽  
West Indians ◽  
Domestic Life ◽  
Feature Films ◽  
Short Films ◽  
The 1950S ◽  
The Impact

“West Indians and the Race Relations Narrative in British Film” revisits perhaps the three most famous middlebrow British “race relations” films of the 1950s and 60s and their star lead, Bermudan—not West Indian—actor Earl Cameron. Taken together, Pool of London, Sapphire, and Flame in the Streets demonstrate the evolving “race relations narrative” that refracted shifting popular attitudes to Caribbean settlers in the capitol. Equally important but less acknowledged in the cinematic histories is Cameron’s perceptive portrayal of “safe” West Indian characters to a mainstream British audience. This chapter’s second subject is the Jamaican actor, filmmaker, and settler Lloyd Reckord. As major feature films remained preoccupied with the impact of Commonwealth migration on white domestic life, Reckord expanded British film’s experience and knowledge of race through his short films Ten Bob in Winter and Dream A40.

Tezuka, Osamu (1928–1989)

2018 ◽  
Author(s):  
Grace Ting
Keyword(s):  
World War Ii ◽  
Business Model ◽  
Television Series ◽  
World War ◽  
Animation Industry ◽  
Postwar Japan ◽  
Animated Films ◽  
Treasure Island ◽  
Media Mix

Tezuka Osamu was a manga (comic) artist, animator, and film director often called the "God of Manga" for his enormous lasting impact upon the manga and animation industry of post-World War II Japan. First attracting attention in 1947 with his manga Shin takarajima (New Treasure Island), he was extraordinarily prolific until his death in 1989. He is best known for his series Tetsuwan Atomu (Iron-Armed Atom, 1952–1968), which suggested utopian desires while also posing darker questions concerning possibilities for peace and diversity in postwar Japan. In 1961, he established the animation studio Mushi Production and adapted the series as the first Japanese animated television series, aired from 1963 to 1966. Ultimately, he produced several hundred manga titles, many of which he adapted as animated films and television series while also producing original animations. A master of innovation, he forged the path for new possibilities for manga and animation, particularly with his groundbreaking contributions in applying cinematic techniques to his works. Tezuka’s work suggests the close-knit ties between film, manga, and TV animation in Japan. In particular, scholar Marc Steinberg has discussed the significant role of Tetsuwan Atomu in establishing precedents for the postwar anime media mix in Japan, especially with its style of limited animation made for television and Tezuka’s business model incorporating transmedia character merchandising.

Charles Chaplin

2015 ◽  
Author(s):  
Donna Kornhaber
Keyword(s):  
Film History ◽  
Charlie Chaplin ◽  
Feature Films ◽  
Short Films ◽  
Charles Chaplin ◽  
History Of ◽  
Marked Decline ◽  
Andre Bazin ◽  
Film Stars ◽  
Sound Technology

Charles Chaplin (b. 1889–d. 1977), better known as Charlie Chaplin, was one of the greatest film stars of the 20th century and one of the most important filmmakers in the history of the medium. Born into poverty in London to a family of music hall performers, Chaplin grew up in destitution with his mother, who suffered from periods of insanity. He joined the prestigious Karno stage company while a teenager and from there was recruited to the fledgling Keystone Studios, famous for its raucous brand of slapstick films. Chaplin excelled at Keystone, quickly developing the “Tramp” character that would become his mainstay and graduating to directing his own short films after only weeks on the job. He left Keystone within a year for a series of more lucrative contracts, quickly becoming one of the highest-paid figures in the film industry and creating a classic body of short films. By 1919 Chaplin had amassed a large enough fortune to start his own film studio and co-founded United Artists to distribute his works, leaving him all but free from outside influence or interference. Throughout the 1920s he created the feature films that would help define his legacy but struggled with the advent of sound technology, refusing to include spoken dialogue in his films for nearly a decade. Chaplin’s first full talkie, The Great Dictator (1940), offered a scathing parody of fascist dictatorship and marked a newfound political mode in his filmmaking. Chaplin’s leftist politics, coupled with a scandalous and protracted paternity suit in the mid-1940s, soon led to a marked decline in his popularity, such that when he left for a worldwide publicity tour for Limelight (1952) he was denied reentry to the country. Chaplin lived the remainder of his life in Switzerland, returning to America only in 1972 to accept an honorary Academy Award. Critical appraisal of Chaplin’s body of work has varied over the decades. Hailed as a genius from early in his career, he saw his critical fortunes fall with his transition to talking pictures. Yet Chaplin always had a coterie of dedicated critical supporters, including such illustrious figures as André Bazin and Andrew Sarris, and the critical estimation of his work has only grown since his death. He remains today one of the most lauded and beloved figures in film history.

I've Got you under my Skin: Narratives of the Inner Body in Cinema and Television

Nuncius ◽  
2011 ◽  
Vol 26 (1) ◽  
pp. 201-221 ◽  
Author(s):  
Alberto Brodesco
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Television Series ◽  
Feature Films ◽  
Aims Of Education ◽  
Open Ground

Abstract1966 Twentieth Century Fox big-budget film Fantastic Voyage represents a corner stone around which a whole audiovisual trope was built. The topic of the voyage of shrunken people sent to explore the inner space of the body was adopted since then by many feature films, television series and animated TV series, for the aims of education, entertainment or edutainment. While the exploration of the body (and, often, the meeting with its inhabitants) gives space to just a few possibilities of plot development, it leaves open ground for metaphors. Starting from the hypotext, this article analyzes a sample of audiovisuals to try to summarize a taxonomy of narrative schemes and the different metaphors (and their uses) that our body can host.

Muslim Women in French Cinema

2016 ◽  
Author(s):  
Leslie Kealhofer-Kemp
Keyword(s):  
First Generation ◽  
Film Studies ◽  
Muslim Women ◽  
Migrant Women ◽  
French Cinema ◽  
Post Colonial ◽  
Colonial Studies ◽  
Cultural Productions ◽  
Feature Films ◽  
Short Films

Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book uses the multi-layered concept of ‘voice’ as an analytical lens through which to examine a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought on the basis of the relatively narrow range of media and cultural productions that have so far reached mainstream audiences. The films examined in this study are part of larger contemporary debates and discussions relating to immigration, integration, and what it means to be French.

scholarly journals Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films

2015 ◽  
Vol 3 (1) ◽  
pp. 44-63
Author(s):  
Jarmo Valkola
Keyword(s):  
Cultural Context ◽  
Large Body ◽  
Film History ◽  
Crime And Punishment ◽  
Feature Films ◽  
Short Films ◽  
Narrative Interaction ◽  
Media And Communication ◽  
Communication Culture ◽  
Moving Bodies

Abstract Aki Kaurismäki is arguably the best-known Finnish filmmaker, owing largely to his feature films such as Crime and Punishment (Rikos ja rangaistus, Finland, 1983), Calamari Union (Finland, 1985), Shadows in Paradise (Varjoja paratiisissa, Finland, 1986), Hamlet Goes Business (Hamlet liikemaailmassa, Finland, 1987), Ariel (Finland, 1988), The Match Factory Girl (Tulitikkutehtaan tyttö, Finland, 1990), I Hired a Contract Killer (Finland/ Sweden, 1990), La vie de bohéme (Finland/France/ Sweden/Germany, 1992), Take Care of Your Scarf, Tatiana (Pidä huivista kiinni, Tatjana, Finland/Germany, 1994), Drifting Clouds (Kauas pilvet karkaavat, Finland, 1996), Juha (Finland, 1999), The Man Without a Past (Mies vailla menneisyyttä, Finland, 2002), Lights in the Dusk (Laitakaupungin valot, Finland, 2006) and Le Havre (Finland/France, 2011). A large body of his work has been made in Finland, but also in countries like France and Great Britain. Besides feature films, he has also made documentaries and short films, as well as musical films with the group Leningrad Cowboys. In a broader context, Kaurismäki has a unique place in Finnish and international film history, as well as in media and communication culture. Kaurismäki’s cultural context includes elements that have been turned into national and transnational symbols of social communication and narrative interaction by his stylisation. The director’s cinematic strategy investigates and makes choices evoking a social understanding of characters that has special communicative value. Kaurismäki’s films have been scrutinised for over thirty years.

scholarly journals Times BFI Film Festival 2007

2008 ◽  
Author(s):  
Lana Gorlitz
Keyword(s):  
Audience Participation ◽  
Film Festival ◽  
Bob Dylan ◽  
Feature Films ◽  
Short Films ◽  
The World ◽  
Spiritual Self ◽  
The Times ◽  
Artistic Director

DARJEELING LIMITED at the TIMES BFI FILM FESTIVAL The Times BFI London Film Festival (17 October-1 November 2007) celebrated its 51st anniversary last year, hosting 185 feature films and 133 short films from 43 countries. The LFF thrives as a "festival of festivals," choosing the best films available on the circuit. This creates an atmosphere which focuses primarily on audience participation and enjoyment rather than the typical emphasis on the industry and the acquisition of distribution rights. The principal concern for Sandra Hebron, Artistic Director of the LFF, was "to select films which showed another way of looking at the world." By all accounts, that was a mission accomplished. From the pursuit of a spiritual self in The Darjeeling Limited, and a lonely voyage to Alaska in Into The Wild, to a glimpse into the world of Bob Dylan in I'm Not There, and a young girl's experience of...

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