Exploring the use of films/dramas in giving awareness towards mental illness in society

This study was exploring the use of films/dramas in giving awareness towards mental illness among society. Objective of this study was to explore the use of films in giving awareness on mental illness to the community. The study used qualitative research design. There were 11 participants of this study which consisted of three stages of human development (adolescent, early and late adulthood). They also come from varies background such as different work setting, age, occupation as well as level of education. The varies background among participants were provided different answers of questions. The method of data collection was an interview with semi-structured questions. Analysis of data using Thematic Analysis. Findings showed few themes have been found from the interview such as personality of participants that lead them to watch this type of films/dramas, effect after they watched this type of films/dramas, perception of participants towards mental illness films/dramas, learning process and suggestion to improve this type of films/dramas in Malaysia. The implication of this study, participants gaining more awareness on mental illness after watching type of films/dramas. They also found this genre of films/dramas enable to educate them to be open with people who suffer from mental illness. In conclusion, future researcher can explore the effect of watching mental illness genre films/dramas towards self-development among society.

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.

Framing the Non-human: American Honey as Eco-Road Movie

This article approaches Andrea Arnold's American Honey (2016) as a contemporary manifestation of an eco-road movie. Although the film's expansive interest in the ‘natural’ environment and its non-human inhabitants aligns it with Arnold's earlier work, American Honey is unique for its complex engagement with the cinematic traditions of Hollywood genre films. I argue that Arnold's eco-aesthetics work to conflate the distinctions between human and non-human worlds, offering a de-romanticisation of the American picturesque vistas and exploring the intersections of human speciesism, masculinity and whiteness, as well as narratives of conquest and ownership. I focus on the ways in which the film both participates in and exceeds Arnold's previous ecocinematic approach in filming British landscape, while at the same time highlighting her distinctive contribution to the tradition of the road movie. If the conventional road movie tends to offer a sense of escape from the capitalist dystopia, American Honey displaces such a promise. In its complex treatment of the supposedly distinct realms of nature and culture, the film does not endorse a return to the mythical wild but, rather, draws attention to the messiness of ecological, social and economic entanglements, exposing both neoliberal and anthropocentric power structures. Ultimately, it is through the intertwining of the film's ecological orientation and its engagement with the conventions of the road movie and its antecedent, the Western, that such a critique is possible.

Fundido en negro

Resumen: La serie Blacksad, del guionista Juan Díaz Canales y el dibujante Juanjo Guarnido, ha cosechado un gran éxito internacional desde su aparición a finales del año 2000. La apuesta de los autores, ganadora a la postre, fue crear una historieta protagonizada por animales en un universo realista noir de los EE. UU. de los años 50 del pasado siglo. Si bien Blacksad nació de la admiración por las grandes novelas y películas de serie negra, la vinculación de los álbumes del gato detective con el cine va más allá, sin embargo, de esta relación directa. En sus páginas es posible encontrar alusiones y homenajes a películas de diferentes géneros que han ayudado a conformar el decorado, los personajes e incluso las tramas de las aventuras del protagonista a lo largo de los cinco volúmenes publicados hasta el momento. Abstract: The Blacksad series, by scriptwriter Juan Díaz Canales and illustrator Juanjo Guarnido, has enjoyed great international success since its creation in late 2000. The authors took a chance – and eventually succeeded – on creating a comic novel starring animals set against a realist, noir, 1950s America background. Blacksad was born out of the authors’ admiration for great noir novels and films, but the link between the cat detective albums and the cinema goes well beyond this point. Throughout the albums’pages we find hints and tributes to many genre films in aspects such as the general background, the personae, and even the plots of the main character’s adventures, which span five volumes so far.

Regulated Immediacy

This chapter explores the work of Viktor Sokolov, a much-admired director at Lenfilm whose extensive work in genre films (production dramas, sports films, literary adaptations) made him relatively invisible to the critical establishment of his own day and later. Sokolov’s combination of emotional surges and a precise and critical eye for cinematic patterning made him difficult to classify at any time, and never more so than in A Day of Sunshine and Rain (1967), an unusual children’s film that explores the unexpected and fragile friendship of two young boys who have skipped school, but also the nature and purpose of art.

Kolor pieniędzy. Filmowy styl Michaela Manna

According to film studies experts, Michael Mann’s movies has the look and the smell of reality. The polisensoric character of his works is used to exhibit the aura of non-screen reality. Michael Mann uses narrative and stylistic elements to show the destructive side of social inequalities. In his genre films, he is presenting themes of social injustice and toxic corporate system (which are often hidden behind the elegant façade of late capitalism’s aesthetics).

KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO

ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah