Film, Cinema, Genre

2021 ◽  
Author(s):  
Steve Neale

This book brings together key works by pioneering film studies scholar Steve Neale. From the 1970s to the 2010s Neale’s vital and unparalleled contribution to the subject has shaped many of the critical agendas that helped to confirm film studies’ position as an innovative discipline within the humanities. Although known primarily for his work on genre, Neale has written on a far wider range of topics. In addition to selections from the influential volumes Genre (1980) and Genre and Hollywood (2000), and articles scrutinizing individual genres – the melodrama, the war film, science fiction and film noir – this Reader provides critical examinations of cinema and technology, art cinema, gender and cinema, stereotypes and representation, cinema history, the film industry, New Hollywood, and film analysis. Many of the articles included are recommended reading for a range of university courses worldwide, making the volume useful to students at undergraduate level and above, researchers, and teachers of film studies, media studies, gender studies and cultural studies. The collection has been selected and edited by Frank Krutnik and Richard Maltby, scholars who have worked closely with Neale and been inspired by his diverse and often provocative critical innovations. Their introduction assesses the significance of Neale’s work, and contextualizes it within the development of UK film studies.

Inception ◽  
2019 ◽  
pp. 7-8
Author(s):  
David Carter

This introductory chapter provides an overview of Christopher Nolan's Inception (2010). Inception blurs the distinctions between various genres. It is considered as science fiction although it does not contain many of the elements associated with the genre. It can also be identified as a kind of heist film, and the first part of the film, the extraction, certainly involves a complex robbery; but then the second part of the film, while having many of the trappings of a heist, involves putting something into a heavily guarded location rather than stealing from it. Moreover, the heist motifs and the film's character types are reminiscent of film noir. Inception can also be described as a psychological thriller and it deals with the subject of time and how dreams are related to the conscious and unconscious mind.


2010 ◽  
Vol 38 (1) ◽  
Author(s):  
Jasmijn Van Gorp

What is national about national cinema? The academic debate unravelled What is national about national cinema? The academic debate unravelled The concept of national cinema has been the subject of a heated debate in film studies for almost 20 years. In this article it is argued that the debate should be seen in the light of the discussion on the concepts of nation and national identity. The starting point is Higson’s pioneering article ‘The Concept of National Identity’ (1989), identifying four views on national cinema (i.e., art cinema, textual, productional and consumptional approach). A fifth approach is being formed by the antipode of national cinema: post- or transnational cinema.


Author(s):  
Annette Kuhn ◽  
Guy Westwell

Over 550 entries This dictionary covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally.


Tanaka Kinuyo ◽  
2018 ◽  
pp. 126-154
Author(s):  
Ayako Saito

Female authorship is the subject of this chapter, which concentrates on Tanaka’s third film, The Eternal Breasts (Chibusa yo eien nare, 1955). This was her first collaboration with scriptwriter Tanaka Sumie, and the chapter reveals the negotiation between two very different women of the same generation who worked together to articulate female subjectivity. Examining their distinct life experiences and approaches to the depiction of women (and female sexuality in particular) works to position Tanaka in the history of Japanese women’s cinema and melodrama. An exhaustive analysis of screenplays, shooting scripts, interviews, and contemporary reviews renders visible Tanaka’s authorial voice as a woman and her visual translation and intervention in Sumie’s script. The chapter makes a case of Tanaka’s creative directorial worth, while exposing why both the film industry and film studies may have hitherto overlooked her directed works.


2021 ◽  
Author(s):  
Andi Asrifan ◽  
Abd Ghofur

Anyone who wants to get ahead in academic or professional life today knows that it’s a question of publish or perish. This applies to colleges, universities, and even hospital Trusts. Yet writing for publication is one of the many skills which isn’t formally taught. Once beyond undergraduate level, it’s normally assumed that you will pick up the necessary skills as you go along.Writing for Academic Journalsseeks to rectify this omission. Rowena Murray is an experienced writer on the subject (author of How to Write a Thesis and How to Survive Your Viva) and she is well aware of the time pressures people are under in their professional lives. What she has to say should be encouraging for those people in ‘new’ universities, people working in disciplines which have only recently been considered academic, and those in professions such as the health service which are under pressure to become more academic.


Author(s):  
Pablo Romero-Fresco

Despite their importance in the reception and distribution of films, translation and accessibility have traditionally been neglected in the film industry. They are regarded as an afterthought, which results in translators being isolated from the creative team and working in conditions that hamper their attempts to maintain the filmmaker’s original vision. As a potential solution to this problem, accessible filmmaking (AFM) aims to integrate translation and accessibility into the production process through the collaboration between the creative team and the translator. This chapter outlines, firstly, the theoretical framework that underlies AFM, drawing on both translation/media accessibility and film studies and incorporating the notion of the global film. It then reviews the application of AFM in the filmmaking industry through the collaboration between accessible filmmakers and directors of translation and access. Finally, it introduces a new engagement-based approach to media accessibility that has resulted from AFM and compares it to the comprehension-based approach that has traditionally been used in this area.


1980 ◽  
Vol 25 (5) ◽  
pp. 381-385
Author(s):  
Jean-Charles Crombez

The questionnaire on continuing education by the Canadian Psychiatric Association's Council on Education and Professional Liaison, sent in 1978 to all Canadian psychiatrists, raises in the author's mind, in spite of his participation in its establishment, the question of the philosophy behind it. Indeed, seeing signs of a greater problem, he identifies the need for two studies, one dealing with the “object”, the other with the “relationship”. Not elaborating on the first one (description of patients and techniques) which is well known, he describes the second as the knowledge and significance of the encounter (that of two persons inevitably and structurally linked). This “area of relations” paradoxically given too little value in the teaching of psychiatry, is more analogical than logical, more intuitive than deductive, more perceptual than intellectual, and more multifactorial than linear. Yet, this dimension of the encounter (whether individual, familial, group or co-therapy) should take place in conjunction with the objective approach, but the latter occurs alone too often. In order to give to this field of relationship a scientific status of its own, and to reintroduce the techniques instead of using them as guard-rails, proper techniques or methods should be employed or developed if necessary. This includes on the one hand the learning of different levels of awareness and the widening of our perceptual, sensorial, intuitive and analogical capacities. (This would allow for an experience of the fundamental relationship between fields that are apart symptom-wise: dream and awakening, physical and psychic, interior and exterior, fantasy and reality, representations and objects, and so on.) On the other hand this leads us to increase our capacity to listen, to abandon ourselves and to get involved, and to “conceive” a presence within the relationship. Finally, there is this learning of how to observe oneself in a situation, of how to look at what is going on within the encounter (and it is in that very position and this very questioning that the concept of neutrality can be understood, not in the legendary phlegm of impenetrability). This can be done within an “experiential” teaching: for the therapist this means the experience and the study of his own involvement, either with a patient or in groups. Another method is supervision, not as “super”-vision but rather as “inter-discovery” and not as control but rather as “ex-pression.” Working in small groups with colleagues where one can enquire about others’ experiences without any normative goal and with an open attitude is desirable. Another tool would be professional meetings, but not in their current form which is not adapted to the field of the relationship. And so on. The author sees a fundamental necessity for these two fields of the “object” and the “relationship” to be taught conjointly, and neither one nor the other to be excluded from the psychiatrist's training; which is not the case at present. The “field of the object” implies an effort at objectifying, defining variables, causes, using experimental methodology, and a more quantitative analysis. The “field of the relationship” implies positions that are often opposed to this. This contradiction seems necessary and inevitable within every person. One tendency is to make ourselves believe that we avoid this contradiction by pretending to total objectivity: that of scientific psychiatry and clear logic. Finally the author returns to the questionnaire that, precisely in its form, is too uniquely meant for an objective teaching: teaching of diagnoses, illnesses, chart controls, patient controls, teaching through questionnaires, case presentations, putting emphasis on articles or textbooks. This proposed method is adapted for teaching persons considered as entities; and learning techniques considered as reified tools. This is exactly the classical stream of university courses and specialty examinations. This reinforces the illusion. There is also the danger, via the “credit” game, that it will strengthen the already strong tendency to mere objectifying of the subject, of the therapist and of science; that it will privilege a normative vision; and discredit certain essential and humanistic dimensions.


2016 ◽  
Vol 51 (4) ◽  
pp. 491
Author(s):  
Ana Cláudia Munari ◽  
Taíssi Alessandra Cardoso da Silva

A partir da análise dos romances de Ricardo Lísias e da sua produção autocrítica, este trabalho busca entender algumas relações entre a literatura de autoficção e a publicização do sujeito autor imerso no universo midiático. Partindo de uma revisão bibliográfica que conceitua os objetos aqui circunscritos e de uma apreciação anterior sobre a produção literária de jovens escritores brasileiros selecionados pela revista Granta em 2012, estreitamos nossa focalização no movimento do romancista em direção à escrita de si e à autorreferência. Nesse sentido, analisamos e contextualizamos a modalidade de escritura denominada autoficção, especialmente no que tange às aproximações entre as instâncias do narrador e do autor e entre biografemas e ficção (FIGUEIREDO, 2013; KLINGER, 2012), e evocamos estudos da Sociologia e da Comunicação de modo a caracterizar a sociedade da qual emerge o corpus deste estudo (LIPOVESTKY, 2004; SANTAELLA, 2012). A partir desse contexto, investigamos as obras literárias – O céu dos suicidas (2012), Divórcio (2013) e Delegado Tobias (2014) – e as narrativas midiáticas de Ricardo Lísias e identificamos nelas estratégias da publicidade.********************************************************************The novel by Ricardo Lísias: wide open windows to the subject hypermodernAbstract: Through the analysis of the novels of Ricardo Lísias and its self-critical production, this work intends to understand some relationships between the self-fiction literature and the popularization of the subject author immersed in the media universe. Starting from a literature review that conceptualizes the objects herein bounded and an earlier assessment of the literary production of young Brazilian writers selected by Granta magazine in 2012, we strengthened  ur focus on the novelist's movement toward the writing itself  nd self-reference. Pursuing this aim, we analyzed and contextualized the form of writing named autofiction, especially with regard to the similarities between instances of the narrator and the author and between biographema and fiction (FIGUEIREDO, 2013; KLINGER, 2012). We also evoked Sociology and Media Studies to characterize the society of which emerges the corpus of this study (LIPOVESTKY, 2004; SANTAELLA, 2012). From these premises, we investigated the literary works – Céu dos suicidas (Heaven suicide, 2012), Divórcio (Divorce, 2013) and Delegado Tobias (Tobias, the police chief, 2014) – and the media narratives of Ricardo Lísias and finally we identified his advertising strategies.Keywords: Self-ficction; Contemporary literature; Hypermodernity; Ricardo Lísias


2021 ◽  
Author(s):  
Dejan Dašić ◽  
◽  
Boban Dašić ◽  

The subject of this paper is the COVID-19 pandemic impact on nations and states branding. Nations branding is very important for their global position. That is why there are numerous specific ways for state branding: film industry, sports events, civil engineering ventures, cultural and public events, diplomacy, celebrities, public relations, tourism etc. In general, people know very little or nothing about individual nations and states, so sports and tourism, as globally popular advents, may represent extraordinary set for their promotion. Globalism is a process of whose activities no state or person is spared. It is followed with numerous advantages but with numerous menaces too. With one of them, the world is struggling these days – the COVID-19 pandemic. Sports events all around the world are postponed or canceled in an effort to stop the virus from spreading. Pandemic and counties lockdowns almost killed global tourism.


Author(s):  
David Romero-Abad ◽  
Jose Pedro Reyes Portales ◽  
Roberto Suárez-Córdova

Abstract The propagation of electromagnetic waves in a medium with electrical and magnetic anisotropy is a subject that is not usually handled in conventional optics and electromagnetism books. During this work, we try to give a pedagogical approach to the subject, using tools that are accessible to an average physics student. In this article, we obtain the Fresnel relation in a media with electromagnetic anisotropy, which corresponds to a quartic equation in the refraction index, assuming only that the principal axes of the electric and magnetic tensors coincide. Additionally, we find the geometric location related to the different situations the discriminant of the quartic equation provides. In order to illustrate our findings, we determine the refractive index together with the plane wave equations for certain values of the parameters that meet the established conditions. The target readers of the paper are students pursuing physics at the intermediate undergraduate level.


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