Adaptive potential of breeding lines of spring barley in conditions of Kuznetsk Depression

Adaptive properties of spring barley in the conditions of the Kuznetsk depression have been studied. The objects of the research are five medium-ripening breeding lines of spring barley. The breeding lines were studied in a nursery of competitive varietal trials in 2016-2020. The soil of the experimental plot is leached chernozem, heavy loam with a medium granulometric composition. The repetition was fourfold, the seeding rate (optimal for spring barley in the cultivation zone) 450 pcs / m2. The sowing dates were April 29 - May 5, the harvesting was done with a Sampo 130 combine at the stage of full ripeness of spring barley samples (August 12-15). The experiment was carried out in comparison with the standard cultivar Biom. The parameters of environmental plasticity (bj), stability (S2dj), the environmental conditions index (Ij) were calculated according to the method developed by S.A. Eberchart and W.A. Russel, which examines the positive response of the genotype to the improved growing conditions. Under contrasting growing conditions of spring barley in the years of research, it was found that the environment factor had a significant influence on the yield - 82.6%, the share of genotype influence was 1.4%. The average yield over the years of the study of spring barley in the nursery of competitive variety trials was 5.51 t/ha, the maximum average yield has a breeding line KM-198/11 - 6.45 t/ha. Genotypes with the highest adaptive properties were identified: KM-198/11 (bi = 0.24, Si2 = 2.59), Nutans 12/16 (bi = 0.24, Si2 = 2.18) with yield variability of 25.9-29.2% (Biom standard - 46.1%). The medium-maturing selection line of spring barley KM-198/11, having above-average adaptive properties, is prepared for submission for state variety testing in 2021 as the variety Kuzbass Jubilee. The main advantages of the variety were revealed: high drought tolerance, resistance to lodging and blight, high productivity (6.45-8.50 t/ha), large grain size (53.2 g), medium reaction to stress factors (reduced productivity). Grain crude protein content was 13.6-14.1%, the film content 8.4%, the natural weight 620 g/l.

Film distribution by video streaming platforms across Southeast Asia during COVID-19

The pandemic of COVID-19, which forced cinema theaters to close and left exhibitors without revenue over a long period, may have dramatically changed the film business and its future. This paper seeks to examine the changing dynamic of film distribution through video streaming in the Southeast Asia region as a result of the impact of the pandemic. Some films may be chosen for video streaming media platforms as their alternative option for release into theatrical distribution. This pandemic also has changed film-viewing habits and behaviors among audiences. Several news reports have substantiated that Southeast Asian viewers are streaming more online video content due to COVID-19. As a result of the pandemic it appears that there is an accelerated shift to streaming media platforms across Southeast Asia countries. Local streaming platforms feed users their unique and culturally distinctive locally produced content which could be distinguished from that offered by global players. In 2020, some new streaming media platforms were launched for distributing film content to their targeted markets locally and internationally. Through the use of a review of trade and business press as well as interview, this paper attempts to identify and present areas of regional change and regional players which deserve systematic discussion and analysis.

The historical process of fandom as a participatory pastime: film discourse in newspapers from 1911 to 1918.

"Who Will Be Ruth?" was a headline that dominated small town newspapers from 1915- 1918. This headline corresponded with a contest that targeted young women to participate in the new national pastime of cinema by having local women vie for the roles in a film with citizens voting for their favourite woman to play the lead character of Ruth. The "Who Will Be Ruth?" contest became a local phenomenon, which garnered tens of thousands of votes in each town the contest ran. The contest exemplifies the film contest trend that occurred in newspapers from 1911-1918, which elicited audience participation in the creation of film content. Movie contests reveal an early participatory culture, which contradicts critical theory's notion of a passive audience. Mass produced cinema in fact actualized publics that participated in the creation of the very content they consumed. The formation of movie fans can be studied by exploring early participation in collective practices, as reflexive circulation of discourse is integral to the creation of a public (Warner, 2002). My research involves studying three distinctive film contests that demonstrate the historical process of creating fandom through the use of newspaper texts. The transformation of film into American mass culture in the 191 Os is directly connected to fan groups who were largely made up of female fans who both legitimized film going and created a distinctive fan public. Film contests gave women agency in creating content for mass culture before voting rights were universal. An exploration of movie contests from 1911-1918 will provide new insights into the relationship between participatory cultures, aesthetic objects and discourse.

The historical process of fandom as a participatory pastime: film discourse in newspapers from 1911 to 1918.

"Who Will Be Ruth?" was a headline that dominated small town newspapers from 1915- 1918. This headline corresponded with a contest that targeted young women to participate in the new national pastime of cinema by having local women vie for the roles in a film with citizens voting for their favourite woman to play the lead character of Ruth. The "Who Will Be Ruth?" contest became a local phenomenon, which garnered tens of thousands of votes in each town the contest ran. The contest exemplifies the film contest trend that occurred in newspapers from 1911-1918, which elicited audience participation in the creation of film content. Movie contests reveal an early participatory culture, which contradicts critical theory's notion of a passive audience. Mass produced cinema in fact actualized publics that participated in the creation of the very content they consumed. The formation of movie fans can be studied by exploring early participation in collective practices, as reflexive circulation of discourse is integral to the creation of a public (Warner, 2002). My research involves studying three distinctive film contests that demonstrate the historical process of creating fandom through the use of newspaper texts. The transformation of film into American mass culture in the 191 Os is directly connected to fan groups who were largely made up of female fans who both legitimized film going and created a distinctive fan public. Film contests gave women agency in creating content for mass culture before voting rights were universal. An exploration of movie contests from 1911-1918 will provide new insights into the relationship between participatory cultures, aesthetic objects and discourse.

A cut above: the end (and ends) of film censorship

By the beginning of the twenty-first century in the West, the notion of government-appointed bodies mandated for censoring cinematic content had fallen considerably out of fashion as institutional censorship was largely curtailed. Barring widely shared concerns regarding the exposure of underage children to material deemed inappropriate, newly rebranded “classification” boards have acted to limit the extent to which they themselves can prohibit images from entering the public market, shifting their emphasis away from censorship and toward consumer edification and greater consideration of artistic merit and authorial intent. Such reform brought the policies of censorship boards in Britain, Canada, and Australia into closer alignment with the goals and processes of the Motion Picture Association of America’s ratings system. Can we then assume that cinematic censorship is effectively a thing of the past? Does the impetus to regulate and police film content continue silently to exist? Analysis of controversies surrounding particular films throughout and in the wake of this shift suggests that, while no longer practiced explicitly by governmental institutions, film censorship continues to operate through less immediately recognizable forms of cultural marginalization and restraint. Classification status drastically affects the number of platforms through which a film can be accessed and thus works, as censorship does, to restrict films from audiences. When market demands place external restraints upon film content, familiar processes of cinematic censorship can be reframed as operating within (as opposed to upon) the institutional structures and practices of cultural production. This two-part study will examine, first, the process by which certain postmillennial cinematic artworks, such as Catherine Breillat’s Fat Girl (2001) and Gaspar Noé’s Irreversible (2002), spurred reform in the policies of classification boards by highlighting the rigidity of classification criteria and, secondly, cases in which, following the shift from moral to covert censorship, artistically serious films such as Vincent Gallo’s The Brown Bunny (2003) and Abel Ferrara’s Welcome to New York (2014) have been suppressed or constrained for their challenging subject matter, most notably for their aggressive presentation of sexuality. The main objective will be determining: 1) how the shift from censorship to classification corresponded to the aesthetic strategies of a handful of boundary-pushing films; and 2) how cinematic censorship, in the absence of traditional institutional enforcement, continues to operate in the interactions between alternative networks of disciplinary power and discursive practice.

A cut above: the end (and ends) of film censorship

By the beginning of the twenty-first century in the West, the notion of government-appointed bodies mandated for censoring cinematic content had fallen considerably out of fashion as institutional censorship was largely curtailed. Barring widely shared concerns regarding the exposure of underage children to material deemed inappropriate, newly rebranded “classification” boards have acted to limit the extent to which they themselves can prohibit images from entering the public market, shifting their emphasis away from censorship and toward consumer edification and greater consideration of artistic merit and authorial intent. Such reform brought the policies of censorship boards in Britain, Canada, and Australia into closer alignment with the goals and processes of the Motion Picture Association of America’s ratings system. Can we then assume that cinematic censorship is effectively a thing of the past? Does the impetus to regulate and police film content continue silently to exist? Analysis of controversies surrounding particular films throughout and in the wake of this shift suggests that, while no longer practiced explicitly by governmental institutions, film censorship continues to operate through less immediately recognizable forms of cultural marginalization and restraint. Classification status drastically affects the number of platforms through which a film can be accessed and thus works, as censorship does, to restrict films from audiences. When market demands place external restraints upon film content, familiar processes of cinematic censorship can be reframed as operating within (as opposed to upon) the institutional structures and practices of cultural production. This two-part study will examine, first, the process by which certain postmillennial cinematic artworks, such as Catherine Breillat’s Fat Girl (2001) and Gaspar Noé’s Irreversible (2002), spurred reform in the policies of classification boards by highlighting the rigidity of classification criteria and, secondly, cases in which, following the shift from moral to covert censorship, artistically serious films such as Vincent Gallo’s The Brown Bunny (2003) and Abel Ferrara’s Welcome to New York (2014) have been suppressed or constrained for their challenging subject matter, most notably for their aggressive presentation of sexuality. The main objective will be determining: 1) how the shift from censorship to classification corresponded to the aesthetic strategies of a handful of boundary-pushing films; and 2) how cinematic censorship, in the absence of traditional institutional enforcement, continues to operate in the interactions between alternative networks of disciplinary power and discursive practice.

Emboldening and Contesting Gender and Skin Color Stereotypes in the Film Industry in India, 1947–1991

This article examines how the film industry influenced prevailing gender and skin color stereotypes in India during the first four decades after Independence in 1947. It shows that Bollywood, the mainstream cinema in India, shared Hollywood's privileging of paler skin over darker skin, and its preference for presenting women in stereotypical ways lacking agency. The influence of film content was especially significant in India as audiences often lacked alternative sources of entertainment and information. It was left to parallel, and often regional, cinemas in India to contest skin color and gender stereotypes entrenched in mainstream media. As conventional archival sources for this history are lacking, the article employs new evidence from oral histories of producers and actors.

The Portrayal of Claustrophobic Behaviours and Events in Film

The recent outbreak of Covid-19 as a global pandemic has taken a toll on people worldwide. Based on an article from Malaysiakini, the number of calls to the Crisis Preparedness and Response Centre (CPRC) increases significantly everyday indicating the large community who faces emotional and psychological distress during these hard times. Some have even related the situation as claustrophobic events. For creative content creators, claustrophobia can be an attractive story but requires different and complex techniques of presenting it. Therefore, in order to effectively inform amateur filmmakers on claustrophobia, this research focuses on the claustrophobic events portrayed in four nominated or award-winning films which simulates real claustrophobic events. The target audience for this research will be focused on amateur filmmakers and young content makers who are a vessel to help educate audiences on claustrophobia in a right manner. It is important to do a critical analysis on how successfully films have relayed this message to their audience with their visuals alongside with relatable stories and characters. Film has the ability to bring spotlight to claustrophobia for it is a perfect tool of education and definitely for entertainment, escaping from reality. This is supported in a Forbes article where it claims that there is an increased consumption of digital content from mobile apps to movie and music streaming due to the world’s population under lockdown. By studying how films portray the message of claustrophobia, it will help amateur film makers and short film content makers to have further information to relay their message effectively to their audience

REPRESENTASI STAILISTIK FILEM HANG TUAH (1956)

Abstrak Hang Tuah (1956) merupakan salah satu filem adaptasi Melayu yang terkenal dalam sejarah perfileman tanah air. Filem ini dikatakan cuba mengangkat karya kesusasteraan Melayu klasik melalui Hikayat Hang Tuah dan Sejarah Melayu. Memandangkan filem ini bersifat adaptasi, maka sering menjadi perhatian dalam kalangan sarjana. Antara aspek yang sering menjadi daya tarikan mereka adalah soal kesetiaan dalam aspek naratif seperti plot, lakonan, gaya bahasa, latar dan tema. Namun demikian, artikel ini hadir dengan melihat kepada aspek lain iaitu stailistik yang mana merupakan salah satu elemen penting dalam pembuatan filem seperti sinematografi, mise en scene dan penyuntingan. Aspek stailistik filem Hang Tuah (1956) cuba diselami dengan mengaplikasikan teori historical poetic of cinema oleh David Bordwell (1989). Sebagai kerangka analisis utama dalam artikel ini, maka historical poetic of cinema cuba menjawab persoalan kajian; bagaimanakah aspek sejarah mampu memberi kesan terhadap stailistik filem Hang Tuah (1956)? Analisis kandungan turut dipilih sebagai instrumen kajian utama untuk memperolehi data daripada buku, artikel jurnal dan filem. Hasil analisis mendapati bahawa filem Hang Tuah (1956) cenderung kepada stailistik model pembuatan Hollywood. Walau bagaimanapun, keadaan persekitaran industri perfileman Melayu era 1950-an cuba mengubah stailistik filem Hang Tuah (1956) kepada acuan filem India. AbstractHang Tuah (1956) is one of the famous adaptation films in Malay cinema. The film endeavours to uplift the classical Malay literature through the Hikayat Hang Tuah and Sejarah Melayu. Since Hang Tuah (1956) is an adaptation film, it has always attracted the scholars’ attention. Among the main attractions is the matter of loyalty in the narrative aspects such as plot, acting, language style, background and theme. However, this article looks at other aspect namely stylistics. This important element of stylistics in film production includes cinematography, mise en scene and editing. The stylistics aspect of Hang Tuah (1956) was investigated by applying the historical poetic theory of cinema by David Bordwell (1989). As the main analytical framework in this article, historical poetic of cinema attempts to answer the research question of how the historical aspects can affect the style of Hang Tuah (1956) film? Content analysis was chosen as the main instrument for obtaining data from books, journal articles and films. The analysis found that Hang Tuah (1956) tends to resemble Hollywood production model. However, the environment of Malay film industry around 1950’s had influenced the stylistics of Hang Tuah (1956) film to be shaped by an Indian mould.

The Fragmentation of Indonesian Film Audience

Nowadays, films can not only be watched in conventional media such as cinema, screening and television but also digital media such as streaming, download and shared archives. This study aims to determine the pattern of audience fragmentation, especially in the cinephile segments. The research employs an explorative qualitative method. The data collection methods include diaries and interviews. Informants were determined using a purposive sampling technique which includes visitors of the movie screened by the Jogja Movie Night, DIY Watching Club, and Cultural Department in July 2018. The results of this study show that, first, conventional media such as cinema and screening are still considered important because they provide a tasting guide, a space for social interaction and technical facilities. Second, attention is managed differently when dealing with conventional and new media. The focus of watching a movie can be created in different ways tailored to the viewing space. Third, film content is used as inspiration to produce films as hobbies and learning space. Also, it can be diverted in other forms such as short stories, performance scripts. Although being exposed to unlimited choices, film viewers only access the relative channels for a certain period. They need public space to interact with film fans, educate their appetite and watch satisfaction. Digital media is used to facilitate the autonomy of choosing and treating films based on their needs and desires. Keywords: Film audience fragmentation, audience interests, consumption pattern, new media, cinephelia.