Representasi Feminisme Eksistensialis Tokoh Wanita dalam Film The Great Wall,

This research aims at the theme of the study of feminism in acting, especially in film. The female figure in this film is described as a strong and spirited female figure. This female figure exists among the domination of men as usual. A female figure is usually portrayed in a feminine role, but in this film, the roles shown are very different. From the role of this female character in this film "The Great Wall", emerges the Existentialist Feminism side, for example, that women are described as a figure who has a level of independence, a way of thinking that is not dependent on men. This study uses descriptive qualitative research using the strategy proposed by Simone de Beauvoir, how women interpret themselves, like 1) work and determine fate; 2) join intellectual groups, think, see, and define to bring about change for women; 3) work and achieve social transformation in society, and 4) refuse to internalize that women are below men. This study shows that the emotional side of a woman cannot change the character of a woman in dealing with problems, this can be seen from the storyline given in this colossal genre film.

Applied Research in the Production of a Genre Film: Production Design and Realization of a School Movie

The production of a film for research purposes (film based research) is a growing qualitative scientific research method, applied in many scientific fields. The researcher of the film based research is an active part of the process, aiming at formulating questions and disputes rather than seeking answers. The object of the research is located in the cinematic production of a fiction film belonging to the genre of School Movies, in combination with the application of the auteur theory. The results of the present study highlight the importance of the personality of the researcher, who should balance between scientific principles and the needs and requirements of film production.

Channeling globalism: Canal+ as transnational French genre film producer

This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences in an ever more multidirectional, multiplatform, cross-hybridizing mediasphere. This article considers the case study films Alibi.com (2017) and Grave (2016) to illustrate the fact that, like the European audiovisual mainstream as a whole, French genre films are bound up in an increasingly transnational and complex intertextual web - a state of affairs promoted by multinational conglomerates such as Canal+. It nonetheless suggests that such French iterations of US-originated genres appropriate and transform rather than merely citing, echoing, or emulating existing models. What is more, drawing on theorizations of aesthetics and affect suggests that these processes can foster new identities.

A Feminist Film Analysis of the Representation of Woman in Chinese Film Noir: Based on the Bold, the Corrupt, and the Beautiful

The cinema industry has always presented female figures from a patriarchal perspective, propagandizing the men’s authority over women. The typical character “female fatale” with fatal sexual attraction in the genre film noir has already been the focus of many feminist scholars. The essay focuses on the issue of the representation of women in Chinese film noir through examining the female figures in The Bold, the Corrupt, and the Beautiful (2017) by close textual analysis. Three heroines, the mom Madame Tang, the daughters Tang Ning and Tang Zhen, as the embodiment of “female fatale” drive the film’s plot and articulate their agency of resisting the masculine power. However, the study will prove that the Chinese female fatale conventionally cannot escape from the fatal tragedy and pessimism in their unsolvable dilemma.

Penerapan Teknik Color Grading dan Musik Scoring pada Tahap Paska Produksi Film Horor "Waktu Terlarang"

Film adalah salah satu media komunikasi modern dan efektif sebagai pengiriman informasi atau pesan yang baik, mendukung cerita yang menarik, suara yang jernih, gambar yang jelas, dan video dengan resolusi tinggi, serta proses editing film akan sangat membantu untuk membuat film menjadi lebih jelas dalam mewujudkan tujuan dari film yang akan dibuat. Perkembangannya begitu cepat, hal ini terjadi dalam semua aspek, baik dari segi cerita sampai pelaksanaannya. Seiring dengan perkembangan zaman yang ada saat ini, film pun mengalami suatu perkembangan dengan memiliki banyak sekali genre film yang beredar ditengah – tengah masyarakat, Salah satunya adalah genre film horror yang diangkat dari kepercayaan masyarakat yang terjadi di lingkungan sekitar yaitu mitos. Tugas akhir ini penulis membuat film pendek yang mengangkat mitos larangan tidur pada waktu magrib serta menerapkan teknik color grading dan musik scoring sebagai solusi untuk menciptakan kualitas video digital. Masalah ini menarik untuk dibahas karena akan membantu meningkatkan dan memberikan warna baru dalam perfilman Indonesia.

Making (shelf) space for VHS: AGFA and the preservation of genre film access copies

This masters research project, All Kinds of People, All Kinds of Ways, proposes that gender is a constructed concept produced by colonial, capitalist, and patriarchal structures. This is illustrated through a three-channel video installation of the same name that utilizes conversations with two-spirit, Anishinaabe participants whose traditions express the fluidity of gender identity. The research done in this paper further supports these discussions through an analysis of feminist and queer theory, as well as a look at various cultures around the world that have similar understandings of non-fixed gender.

Making (shelf) space for VHS: AGFA and the preservation of genre film access copies

This masters research project, All Kinds of People, All Kinds of Ways, proposes that gender is a constructed concept produced by colonial, capitalist, and patriarchal structures. This is illustrated through a three-channel video installation of the same name that utilizes conversations with two-spirit, Anishinaabe participants whose traditions express the fluidity of gender identity. The research done in this paper further supports these discussions through an analysis of feminist and queer theory, as well as a look at various cultures around the world that have similar understandings of non-fixed gender.

Dutch Post-war Fiction Film through a Lens of Psychoanalysis

Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately. Because of the sheer variety of Fons Rademakers's oeuvre, which spans 'art' cinema and cult, genre film and historical epics, each chapter will start with one of his titles to introduce a key concept from psychoanalysis. It is an oft-voiced claim that Dutch cinema strongly adheres to realism, but psychoanalytic theories on desire and fantasy are employed to put this idea into perspective. In the vein of cinephilia, this study brings together canonical titles (ALS TWEE DRUPPELS WATER; SOLDAAT VAN ORANJE) and little gems (MONSIEUR HAWARDEN; KRACHT). It juxtaposes among others GLUCKAUF and DE VLIEGENDE HOLLANDER (on father figures); FLANAGAN and SPOORLOOS (on rabbles and heroes); DE AANSLAG and LEEDVERMAAK (on historical traumas); ANTONIA and BLUEBIRD (on aphanisis).

The Sacralization of the Myth of Prohibition of Leaving the House at Dusk in Sandekala Film: Charles Sanders Pierce’s Semiotic Analysis

Sandekala is a horror film that tells the story of local and religious myths about the prohibition of going out at sunset because the devil hovers around at this time. The combination of myth and religion in this horror film is also an attempt to sacralize myth and religion which is produced in the plot of a scary film scene. This paper aims to determine the position of myth and religious themes in the horror film genre in Indonesia, and discuss how the depiction of the sacred myth comes out at sunset. Sandekala's film was analyzed using Charles Sanders Peirce's semiotic analysis, namely sign, text and interpretant. The results of this paper are first, myth and religion have been used by Indonesian horror film filmmakers since the New Order Era until now. Second, the depiction of the sacredness of the myth of the prohibition of going out at sunset in this film with a dark evening scene, the mother and child as the main characters who have left the house at dusk ignoring the prohibition that has become a myth of society. In addition to confirming the myth of society, this film is also an attempt to remind the segmentation of young people and urbanites who have begun to forget this myth. Abstrak Film Sandekala merupakan film bergenre horor yang bercerita tentang mitos lokal dan religi tentang larangan keluar pada waktu magrib karena setan bergentayangan pada waktu ini. Gabungan antara mitos dan religi dalam film horor ini juga merupakan upaya sakralisasi antara mitos dan religi yang diproduksi dalam alur scene film yang menakutkan. Tulisan ini bertujuan untuk mengetahui posisi tema mitos dan religi dalam genre film horor di Indonesia, dan membahas tentang bagaimana penggambaran sakralisasi mitos keluar pada waktu magrib. Fim Sandekala dianalisis menggunakan analisis semiotik Charles Sanders Peirce yaitu sign, teks dan interpretant. Hasil dari tulisan ini adalah pertama, tema mitos dan religi sudah digunakan sineas film horor Indonesia sejak Era Orde Baru sampai sekarang ini. Kedua, penggambaran sakralisasi mitos larangan keluar magrib di film ini dengan scene suasana magrib yang gelap, ibu dan anak sebagai pemeran utama yang terlanjur keluar rumah waktu magrib ini mengabaikan larangan yang sudah menjadi mitos masyarakat. Film ini selain meneguhkan mitos masyarakat, juga sebagai upaya untuk membidik segmentasi anak muda dan kaum urban yang sudah mulai melupakan mitos ini.

The Last Warning: Uncertainty, Exploitation, and Horror

This chapter considers Universal’s relationship with its audiences at the end of the silent period of Hollywood cinema. Specifically, it presents The Last Warning as a case study and focuses on the ways that Universal promoted this film—a “partial-talkie”—to exhibitors and advertised it to the public. This analysis suggests how Universal imagined the audience for this film and explores the studio’s strategies for connecting the film’s narrative to this imagined audience during the transitional period to synchronised sound. For example, Universal tried to entice exhibitors to book the film by providing survey cards that audience members could fill out during a break in the film’s narrative. The cards would allow them to guess “whodunnit” before the film resumed. Universal therefore engaged in a creative and playful approach to making the film experience more interactive, albeit in a decidedly low-tech way. The studio imagined a specific, rather sophisticated type of audience engagement with a stylistically creative but narratively banal genre film at the end of the silent era.