Post-Coloniality: Projection of Ghana In Video-Films

The rise of the mainstream video industry has been significant towards socio-cultural and economic development in Ghana; however, this study will not focus on the impacts of the video industry of Ghana. This article primarily examines the image construction of Ghana in video-films. Over the past few years, videofilms in Post-colonial Ghana have often been critiqued by film scholars and critics for reinforcing superstitious beliefs and instigating backward tendencies that derail national development. Normative scholarships have critically explored the visuality of Ghanaian video-films and their themes. Nonetheless, these normative scholarships have often overlooked the nexus between the Ghanaian society and video texts. It is against this scholarly gap that this study engages the meta-question of how video-films project Ghana in their texts. This article will engage a critical textual reading of a few popular films from the Pentecostal and Occult genres to contextualize the ideological sub-texts and the image construction of Ghana in these selected video-films. I argue that major ‘postmodern’ thematic concerns in Ghanaian video-films considerably denigrate and malign Ghana’s image, as well as neglect issues of national interests.

Coming of Age in the Diaspora: Bollywood and the Representation of Second Generation British Indian Diaspora

Bollywood films are a unique visual repository of India’s public imaginings, and they can, therefore, serve as guides to how India sees its past, present, and aspirational future (Dwyer, 2010). Through close intertextual readings of three key popular films depicting British Indian youth, this article explores the ways in which the UK-born/raised second-generation Indian diaspora has come to be represented within Bollywood. We argue that inter-generational negotiations around long-distance nationalism, social reproduction, and marriage are pivotal to the articulation and regulation of diasporic youth subjectivities in Bollywood films. By foregrounding the interplay of gender, sexuality, and nation, our analysis illuminates the role of Bollywood in mediating a transnational Indian identity which is tethered simultaneously to economic neoliberalism and social conservatism.

Accent in North American Film and Television

Drawing on data from well-known actors in popular films and TV shows, this reference guide surveys the representation of accent in North American film and TV over eight decades. It analyzes the speech of 180 film and television performances from the 1930s to today, looking at how that speech has changed; how it reflects the regional backgrounds, gender, and ethnic ancestry of the actors; and how phonetic variation and change in the 'real world' have been both portrayed in, and possibly influenced by, film and television speech. It also clearly explains the technical concepts necessary for understanding the phonetic analysis of accents. Providing new insights into the role of language in the expression of North American cultural identity, this is essential reading for researchers and advanced students in linguistics, film, television and media studies, and North American studies, as well as the larger community interested in film and television.

Soviet Americanists, Academic Exchanges, the KGB and the Promotion of Video Media from Capitalist America during the Cold War

This essay is an attempt, made by using the personal stories of Soviet Americani-sts, to study the role of Soviet academic visitors, approved and supervised by the KGB, in promoting the cultural products from the USA - mainly such visual media as films and television - in the USSR during the period of academic exchanges after 1959. During their visits to the United States, Soviet Americanists used their leisure time not only for sightseeing, visiting museums and shopping, but also for various forms of cultural entertainment, from watching films and television shows to visiting concerts of classical and popular music. These experiences eventually affected the recommenda-tions about American cultural products, which Soviet visitors submitted to the KGB and their supervisors after their return home. During the 1970s and the 1980s, Soviet admi-nistration benefited from such useful advice about American popular films and televi-sion programs, which could be promoted in the USSR. Even the KGB administration in the Soviet Union studied the lists of recommendations made by those scholars, and used them for promoting the "progressive, humanistic" American cultural products among local Communist and Komsomol leaders for the education of Soviet audience.

The political history of France in reflection of the national cinematography (1960s – 1970s)

The goal of this research consists in determination of the place and role of French cinematography of 1960s – 1970s in the political history of postwar France. The object of this research is the process of transformation of political discourse in the context of transfer of power from Charles de Gaulle to Georges Pompidou. The subject of is reflection of the history of collaborationism in the films “Sadness and Pity” (1969) and “Lacombe Lucien” (1973). The author examines such aspect of the topic as reflection of the political and cultural elites on the Vichy regime. Special attention is given to the political consequences of the screening of films about collusion of the Nazi to French citizens. The scientific lies in the analytical overview of the popular films of French national cinematography of 1960s – 1970s, which interpret the phenomenon of “collaborationism” and “opposition" of the period of German occupation. As a result, it is proven that these films distorted the silence on collusion of a number of citizens to the occupier that prevailed in the French political and public discourse. The author notes that resign of Charles de Gaulle as the head of the French Republic led to the emergence of the products of popular culture that revise the previous interpretations of the military past and have a capacity to change the political situation in the country.

A preferred reality: Film portrayals of robots and AI in popular science fiction

The increasing frequency and depth of human interaction with robots and artificial intelligence (AI) prompts this research study into how media-framed portrayals of technology in popular visual media might construct social reality. Cinema serves as an important and influential form of media, and portrayals of technology in film media can influence public perceptions, specifically confirming or creating perceptions of artificial or robotic intelligence. Previous research identifies frequent portrayals of robots and AI as deceptive, aggressive monsters in films like Fritz Lang’s Metropolis and James Cameron’s The Terminator. However, as the distance between fantastic technology collapses into a new social reality where humans, AI and robots exist together, film portrayals reflect a more nuanced view and changing expectations for human-robot, human-AI interactions. The study applies framing theory and a content analysis methodology to examine filmmakers’ choices to determine robot and AI character types frequenting popular cinema. Seventeen popular films yielded 592 scenes to analyse. Findings from this quantitative content analysis revealed patterns portraying robots and AI more often as friendly, helpful companions of humans, rather than menacing or harmful to humans. Therefore, the researchers conclude that modern films primarily depict cohesive and complimentary interactions between humans and living technology, reflecting on heavy technology use and dependency. Furthermore, individuals who create these films may be illustrating scenes of a preferred reality, where AI and robots are meant to be our helpers, rather than threatening replacements in both society and industry.

Biblical Presence in Chinese Contemporary Films

This essay aims to look at the exploration of the Christian faith by means of Chinese contemporary photographic images through categorizing Christianity-related image artwork in China. The exploration will focus on the “film” genre, including documentaries and the artists involved. In terms of territories, it mainly focuses on works produced in mainland China but also discusses some works from Hong Kong and Taiwan that have had some influence reaching China. After surveying art films and experimental films, commercial and popular films, the essay re-reads the films using biblical lenses and images.

Developmental Differences in Emotional Representation Between Subcortical Structures and Ventromedial Prefrontal Cortex

Behavioral data has found differences in how adults and children express affective experiences and information. However, the exact mechanisms which drive these differences have yet to be elucidated. One possible reason why adults and children may demonstrate observable differences is the representation of affect in key neurological structures. Fifty-seven participants (36 children; 21 adults) passively viewed positive, negative, and neutral clips from popular films while undergoing functional magnetic resonance imaging. Using representational similarity analysis to measure variability in neural pattern similarity, we found developmental differences between children and adults in the amygdala, nucleus accumbens, and ventromedial prefrontal cortex, such that children generated contrasting patterns between subcortical structures and the ventromedial prefrontal cortex; a phenomenon not replicated among their older counterparts. Furthermore, children generated valence-specific differences in representational patterns across regions while adults failed to demonstrate similar valence-specific responses. These results may suggest that affective representations grow increasingly dissimilar over development as individuals mature from visceral emotional responses to more evaluative analyses. Further research is required to determine whether these differences influence affective expression and behavior.