scholarly journals TECHNOLOGIZING METAPHOR, DEMYSTIFYING TRAUMA: ALLEGORY IN THE FILM 27 STEPS OF MAY

2021 ◽  
Vol 20 (2) ◽  
pp. 238-248
Author(s):  
Rifki Zamzam Mustaffa ◽  
Aquarini Priyatna ◽  
Ari J. Adipurwawidjana
Keyword(s):  
Violence Against Women ◽  
Theoretical Framework ◽  
Close Reading ◽  
Narrative Texts ◽  
National Trauma ◽  
Marginalized Groups ◽  
Mise En Scene

This article aims at elaborating the issues of trauma, violence against women and their agencies depicted in Indonesianfilm entitled 27 Steps of May. By situating the issues within the theoretical framework combining theories on allegoryand metaphor as elaborated by Jameson (2006), and Jakobson (1956), as well as theoretical premises pertaining to filmtechnology by Turner (2002), this study shows how film as a form of narrative texts can visualize those issues throughavailable technological features (camera techniques and mise-en-scene). Our close reading finds that the film presentsmetaphors of rape, women agency, amnesia and trauma through the presentation of the characters (May, Bapak, Pesulapand Kurir), also the mise-en-scene in its scenes. We argue that this film visualizes an allegory of national trauma inrelation to Indonesian May 1998 riots, specifically the violence towards marginalized groups (Chinese and women),which also represents the Indonesian collective expectation in acknowledging the national trauma jointly.

scholarly journals Surveillance Studies and Violence Against Women

2012 ◽  
Vol 10 (2) ◽  
pp. 105-118 ◽  
Author(s):  
Corinne Lysandra Mason ◽  
Shoshana Magnet
Keyword(s):  
Violence Against Women ◽  
Theoretical Framework ◽  
Privacy And Security ◽  
Surveillance Studies ◽  
Marginalized Groups ◽  
Technology Users ◽  
The Impact

Surveillance, privacy and security are of paramount concern to technology users. One of the implications of these new forms of technologized surveillance that has received little attention is their implications for women fleeing violent situations. This article seeks to place questions of surveillance technologies into a theoretical framework that foregrounds the challenges that new surveillance technologies pose to anti-violence movements. Specifically we address the impact of surveillance technologies in the practice of violence and some proposed solutions, and consider the ways that surveillance technologies are used disproportionately in the criminalization marginalized groups. By placing violence against women at the center of our analysis we aim to complicate concerns related to surveillance technologies.   

scholarly journals Emotions et agressivité verbale : l’impolitesse volcanique et l’impolitesse affective stratégique

2015 ◽  
Vol 12 (1) ◽  
pp. 22-36
Author(s):  
Alina Oprea
Keyword(s):  
Discourse Analysis ◽  
Present Article ◽  
Theoretical Framework ◽  
Talk Shows ◽  
Mise En Scene ◽  
Verbal Violence ◽  
Type Of Management

Prenant comme cadre théorique l’analyse du discours, le présent article interroge le rapport entre émotion(s) et agressivité verbale à travers l’analyse de l’impolitesse volcanique et l’impolitesse affective stratégique. Partant du postulat que ces manifestations de l’impolitesse supposent une gestion et une manipulation différentes des émotions, ma démarche est ici double : il s’agit de dégager le fonctionnement des émotions dans un corpus médiatique (séquences extraites de talk-shows télévisés) et de mettre en parallèle les deux formes de violence verbale. En effet, l’analyse du corpus montre que l’impolitesse volcanique et l’impolitesse affective stratégique se ressemblent de par leur forme mais se distinguent de par leur temporalité, leur spontanéité et sincérité, et surtout de par la mise en scène complexe qui accompagne cette dernière et qui met en place trois portraits (héros, antihéros, victime) et trois discours (dénonciation d’une injustice, accusation, victimisation). Emotions and verbal violence: volcanic impoliteness and strategic affective impoliteness Taking the Discourse Analysis as the theoretical framework, the present article explores the relations between emotion(s) and verbal violence through the analysis of volcanic impoliteness and strategic affective impoliteness. Starting from the premise that each of these manifestations of impoliteness implies a different type of management and manipulation of emotions, my approach will be twofold: I will try to bring out the functioning of emotions in my corpus (composed of several extracts of TV talk-shows) and to compare the two forms of verbal violence. Indeed, the analysis of my corpus shows that, although volcanic and affective strategic impoliteness may have the same form, they differ with regard to their temporality, to they spontaneity and sincerity, and especially to their mise en scène: the complex mise en scène of the latter provides three portraits (the hero, the antihero and the victim) and three speeches (denunciation of some sort of injustice, accusation, victimization).

Cinematic Spaces of ‘the Arab Street’ : Mohamed Diab’s Inverted Road Movie Clash (2016)

2021 ◽  
Author(s):  
Alena Strohmaier
Keyword(s):  
Middle East ◽  
North Africa ◽  
Close Reading ◽  
Feature Film ◽  
Mise En Scene ◽  
Cinematic Space

This chapter examines how cinema challenges and inverts traditional spaces of social upheavals, such as streets and squares, in their capacity to be spaces of knowledge and solidarity, in conceptualizing them as enhanced media-sensible spaces. Through a close reading of Mohamed Diab’s feature film Clash (2016), I foreground the idea of the truck as a cinematic space predicated on its ability to accommodate movement, both in a literal and a metaphorical sense. This allows for a discussion of cinematic spaces of the so-called ‘Arab street’, created by both mise en scène and cinematography that go against the more prevalent images of street fights and mass demonstrations as seen in documentaries about the popular upheavals in the Middle East and North Africa region since 2009.

Critical Criminology

Criminology ◽  
2010 ◽  
Author(s):  
Michael J. Lynch
Keyword(s):  
Violence Against Women ◽  
Racial Bias ◽  
Critical Criminology ◽  
Green Criminology ◽  
Cultural Criminology ◽  
Marginalized Groups ◽  
Power Differentials ◽  
Feminist Criminology ◽  
Convict Criminology ◽  
Do So

Like orthodox criminology, critical criminology has developed numerous specialties, and thus it is no longer possible to describe a generic critical criminology, or to succinctly summarize this view. For this reason, this entry excludes coverage of portions of critical criminology such as critical race/racial bias, feminist criminology, violence against women, postmodern/semiotic/constitutive criminology, cultural criminology, convict criminology, and environmental justice and environmental/green criminology. Despite growing specialization, the field of critical criminology is united in its emphasis on addressing power differentials, hierarchies, and inequalities as explanations of crime, as these impact the distribution of crime over time and place, and in relation to definitions of crime and justice and processes of doing justice, as these impact the making and enforcing of laws. These power differentials also mold intermediary cultures and their relations to crime and justice. In addition, a number of critical criminology perspectives attempt to promote economic, social, and political equity to diminish the production of crime and disparities in the making and enforcement of law. Some seek to do so by empowering victims and marginalized groups, and it is this commitment to the powerless and marginalized that distinguishes critical from orthodox criminology. The bibliographic material that follows is organized to best reflect the limited segment of critical criminology that can adequately be addressed here.

The Violence of Memory

2017 ◽  
Author(s):  
Deepti Misri
Keyword(s):  
Violence Against Women ◽  
Family Members ◽  
The Body ◽  
Close Reading

This chapter focuses on a set of women's narrations regarding the patriarchal memorializations of Partition and uncovers a widely disavowed form of violence against women: the preemptive killing of women by their own male family members as part of preserving community honor. It begins with Krishna Mehta's recently republished memoir, Kashmir 1947, showing how a “woman's account” of such violence does not serve automatically to interrogate patriarchal memorializations. Yet, a close reading may demonstrate its potential to destabilize the narrative of “death before dishonor.” Against Mehta's Hindu and nationalist narrative, the chapter analyzes the minority perspective of Sikh Canadian writer Shauna Singh Baldwin's novel What the Body Remembers, which reveals how the dismembered body in the text figures an ideological continuity across competing communal patriarchies.

scholarly journals Aristophanes in Comic Books: Adaptation as Metabase

2017 ◽  
Vol 61 (3) ◽  
pp. 553-577 ◽  
Author(s):  
Dimitris Asimakoulas
Keyword(s):  
Comic Book ◽  
Translation Studies ◽  
Close Reading ◽  
Adaptation Studies ◽  
Visual Rhythm ◽  
Mise En Scene ◽  
Long Time ◽  
Book Format ◽  
Formal Properties ◽  
Shed Light

Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.

Transing Normative Boyhood Masculinity in Alain Berliner’s Ma Vie en Rose

2015 ◽  
Vol 8 (2) ◽  
pp. 43-60
Author(s):  
Gust A. Yep ◽  
Sage E. Russo ◽  
Ryan M. Lescure
Keyword(s):  
Theoretical Framework ◽  
Gender Performance ◽  
Close Reading ◽  
Sex And Gender ◽  
Social Categories ◽  
Gender Identities ◽  
Cultural Expectations ◽  
Social Circle ◽  
Gender Performances ◽  
And Gender

Offering a captivating exploration of seven-year-old Ludovic Fabre’s struggle against cultural expectations of normative boyhood masculinity, Alain Berliner’s blockbuster Ma Vie en Rose exposes the ways in which current sex and gender systems operate in cinematic representations of nonconforming gender identities. Using transing as our theoretical framework to investigate how gender is assembled and reassembled in and across other social categories such as age, we engage in a close reading of the film with a focus on Ludovic’s gender performance. Our analysis reveals three distinct but interrelated discourses—construction, correction, and narration—as the protagonist and Ludovic’s family and larger social circle attempt to work with, through, and against transgression of normative boyhood masculinity. We conclude by exploring the implications of transing boyhood gender performances.

Unfaithful Passions: Coding Women Coding Men in Jeremiah 2-3 (4:2)

1996 ◽  
Vol 4 (3) ◽  
pp. 288-310 ◽  
Author(s):  
A.R. PETE DIAMOND ◽  
Kathleen M. O'Connor
Keyword(s):  
Critical Theory ◽  
Reader Response ◽  
Violence Against Women ◽  
Close Reading ◽  
Marriage Metaphor ◽  
Rhetorical Function

AbstractThis close reading of Jeremiah 2:1-4:2 uses critical theory on narrative, metaphor and reader response to investigate the gender symbolism in the text in order to assess its governing symbolic grammar, rhetorical function and reception. Jeremiah's metaphor of the broken marriage functions as a root metaphor that unifies and narratizes the disparate materials in these chapters. The variants between the MT and the LXX Vorlage appear as alternative performances of Jeremiah's metaphor. The majority of variants cluster around the female addressee as a means to ruin the latter's image and sharpen national application of the metaphor. Jeremiah re-encodes Hosea's version of the marriage metaphor to serve new circumstances and create a new configuration of readers. The essay concludes with a contemporary, feminist assessment of Jeremiah's gender symbolism in relation to violence against women.

Transnationalistic memories: Frédéric Boissonnas’ photographic construction of a Greek-Christian European Thessaloniki in Salonique et ses basiliques (1919)

2019 ◽  
Vol 12 (5) ◽  
pp. 531-546
Author(s):  
Colette Wilson
Keyword(s):  
Theoretical Framework ◽  
City Centre ◽  
Close Reading ◽  
The Creation ◽  
Precise Moment ◽  
The City ◽  
Artistic Product

Frédéric Boissonnas’ album, Salonique et ses basiliques, captures the city at a very precise moment in its history. The album’s photographs were taken between 1912 and 1913, that is, just at the end of the Ottoman and the beginning of Greek rule, but before the great fire of 1917 that destroyed the city centre, removing virtually all traces of the Turkish and Jewish quarters. The album also predates the forced exchange of Muslim and Christian populations in 1923 that finally brought the transculturalism of the city to an abrupt end. Through a close reading of Boissonnas’ photographs, within the theoretical framework of past transnationalistic and present-day transcultural memories, this article argues that political and ideological allegiances directed the creation, dissemination and consumption of an artistic product. The article concludes with a reflection on the city’s return to its transcultural roots.

On the Path to Becoming

2020 ◽  
Vol 13 (1) ◽  
pp. 78-97
Author(s):  
Niloo E. Sarabi
Keyword(s):  
Social Mobility ◽  
Critical Analysis ◽  
Gender Socialization ◽  
Close Reading ◽  
Film Festivals ◽  
Visual Aesthetics ◽  
Mise En Scene ◽  
The Veil ◽  
Social Message ◽  
Film Language

Abstract In this article, I undertake a critical analysis of Marzieh Meshkini’s 2000 directorial debut, The Day I Became a Woman, which won multiple awards at the Toronto and Venice Film Festivals, and I investigate the manner in which Meshkini’s visual aesthetics enable her to enrich vital debates about the veil, gender socialization and social mobility as well as female pleasure and jouissance in contemporary Iranian society and abroad. Through a close reading of the figurative film language and innovative cinematography in Meshkini’s film, including its novel play with different temporalities and its artistic approach to mise-en-scène and framing of various shots, I examine the extent to which Meshkini succeeds in conveying her compelling social message in terms of Iranian women’s experiences, more than two decades after the Islamic revolution.

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