scholarly journals Intellectualization of Film genre in Korea: the case of Film discourse From 1988 to 2007

2013 ◽  
Vol 13 (2) ◽  
pp. 88-99 ◽  
Author(s):  
Junghwan Kim
Keyword(s):  
Film Genre ◽  
Film Discourse

Differential effects of film genre on viewers’ absorption, identification, and enjoyment.

2020 ◽  
Author(s):  
Jacqueline M. Thompson ◽  
Ben Teasdale ◽  
Sophie Duncan ◽  
Evert van Emde Boas ◽  
Felix Budelmann ◽  
...  
Keyword(s):  
Differential Effects ◽  
Film Genre

Devotional Transformation

2005 ◽  
Vol 1 (2-3) ◽  
pp. 237-257
Author(s):  
Ravi Vasudevan
Keyword(s):  
Religious Belief ◽  
Film Genre ◽  
Narrative Structures ◽  
The Status ◽  
Film Spectatorship ◽  
The Relationship

This article focuses on the specific Indian cinematic form of the Hindu devotional film genre to explore the relationship between cinema and religion. Using three important early films from the devotional oeuvre—Gopal Krishna, Sant Dnyaneshwar, and Sant Tukaram—as the primary referent, it tries to understand certain characteristic patterns in the narrative structures of these films, and the cultures of visuality and address, miraculous manifestation, and witnessing and self-transformation that they generate. These three films produced by Prabhat Studios between the years 1936 and 1940 and all directed by Vishnupant Damle and Syed Fattelal, drew upon the powerful anti-hierarchical traditions of Bhakti, devotional worship that circumvented Brahmanical forms. This article will argue that the devotional film crucially undertakes a work of transformation in the perspectives on property, and that in this engagement it particularly reviews the status of the household in its bid to generate a utopian model of unbounded community. The article will also consider the status of technologies of the miraculous that are among the central attractions of the genre, and afford a reflection on the relation between cinema technology, popular religious belief and desire, and film spectatorship.

Groped and Gutted

Screen Bodies ◽  
2020 ◽  
Vol 5 (1) ◽  
pp. 31-55
Author(s):  
Samantha Eddy
Keyword(s):  
Mixed Methods ◽  
Social Order ◽  
Power Relations ◽  
Mixed Methods Approach ◽  
Film Genre ◽  
Slasher Film ◽  
Sexually Violent ◽  
Creative Space ◽  
Feminist Identification

The realm of horror provides a creative space in which the breakdown of social order can either expose power relations or further cement them by having them persist after the collapse. Carol Clover proposed that the 1970s slasher film genre—known for its sex and gore fanfare—provided feminist identification through its “final girl” indie invention. Over three decades later, with the genre now commercialized, this research exposes the reality of sexual and horrific imagery within the Hollywood mainstay. Using a mixed-methods approach, I develop four categories of depiction across cisgender representation in these films: violent, sexual, sexually violent, and postmortem. I explore the ways in which a white, heterosexist imagination has appropriated this once productive genre through the violent treatment of bodies. This exposes the means by which hegemonic, oppressive structures assimilate and sanitize counter-media. This article provides an important discussion on how counterculture is transformed in capital systems and then used to uphold the very structures it seeks to confront. The result of such assimilation is the violent treatment and stereotyping of marginalized identities in which creative efforts now pursue new means of brutalization and dehumanization.

Intuition, Evidence, and Carroll's Theory of Narrative

Projections ◽  
2020 ◽  
Vol 14 (1) ◽  
pp. 37-57
Author(s):  
Jonathan Frome
Keyword(s):  
Explanatory Power ◽  
Narrative Structure ◽  
Audience Engagement ◽  
Film Genre

AbstractOver the last thirty years, Noël Carroll has elaborated his theory of erotetic narration, which holds that most films have a narrative structure in which early scenes raise questions and later scenes answer them. Carroll's prolific publishing about this theory and his expansion of the theory to issues such as audience engagement, narrative closure, and film genre have bolstered its profile, but, despite its high visibility in the field, virtually no other scholars have either criticized or built upon the theory. This article uses Carroll's own criteria for evaluating film theories—evidentiary support, falsifiability, and explanatory power—to argue that erotetic theory's strange position in the field is due to its intuitive examples and equivocal descriptions, which make the theory appear highly plausible even though it is ultimately indefensible.

The inner muses: How affective temperament traits, gender and age predict film genre preference

2021 ◽  
Vol 178 ◽  
pp. 110877
Author(s):  
Carmenrita Infortuna ◽  
Fortunato Battaglia ◽  
David Freedberg ◽  
Carmela Mento ◽  
Rocco Antonio Zoccali ◽  
...  
Keyword(s):  
Film Genre ◽  
Gender And Age ◽  
Affective Temperament ◽  
Temperament Traits

scholarly journals Samson’s “Thorn Bush” Tagging of Delilah Within Cecil B. DeMille’s Samson and Delilah (1949): Pricking One’s Scriptural Conscience?

2014 ◽  
Vol 3 (3) ◽  
pp. 74-106
Author(s):  
Anton Karl Kozlovic
Keyword(s):  
Film Criticism ◽  
Close Reading ◽  
Film Genre ◽  
Selective Review ◽  
Biblical Epics ◽  
The Many

Legendary producer-director Cecil B. DeMille was a seminal cofounder of Hollywood, a progenitor of Paramount Pictures, and an unsung auteur who was not only an early pioneer of the religion-and-film genre but became the undisputed master of the American biblical epic. However, the many deftly engineered sacred subtexts, thematic preoccupations, and aesthetic skills of this movie trailblazer were frequently denied, derided or dismissed during his lifetime and decades thereafter. This situation is in need of re-examination, rectification and renewal. Consequently, following a close reading of Samson and Delilah (1949) and a selective review of the critical DeMille, film and religion literature, this article uses Delilah’s (Hedy Lamarr) “thorn bush” tag, given to her during the wedding feast confrontation scene with Samson (Victor Mature), to explicate ten thorn bush themes that reveal some of the hidden depths of C.B.’s biblical artistry. Utilising textually-based humanist film criticism as the guiding analytical lens, this article concludes that DeMille was a far defter biblical filmmaker than has hitherto been appreciated. Further research into DeMille studies, biblical epics, and the religion-and-film field is warranted, recommended and already long overdue.

Review: Film/Genre by Rick Altman

2000 ◽  
Vol 53 (4) ◽  
pp. 53-55
Author(s):  
Leger Grindon
Keyword(s):  
Film Genre

scholarly journals FROM ʽNEWSREELʼ TO ʽTV NEWSʼ IN SERBIA

2020 ◽  
pp. 137
Author(s):  
Marija Vujović ◽  
Anka Mihajlov Prokopović
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Documentary Film ◽  
Television News ◽  
Late 19Th Century ◽  
Feature Film ◽  
Film Genre ◽  
Development Path ◽  
Modern Age ◽  
The Moment

Prior to becoming the most dominant cultural product of the modern age, the film began its history as a journalistic concept. The first films made by the brothers Auguste and Louis Lumière in the late 19th century were documentaries. The first film made at the beginning of the 20th century in Serbia was also a type of a newsreel, a documentary. Some of the first cinema owners and cinematographers were journalists. This paper explains the development of documentary film in Serbia, which, in addition to being a film genre, also became a television genre in the second half of the 20th century. The goal of this paper is to show the development path starting from the first feature film and newsreel, to television news - one of the most frequent TV programs of the moment – by using the example of Serbia.

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