The Trickster in Serialized Television: An Anti-hero of Postmodern Mythologies

Anti-heroes have become prevalent on the television home screen since the advent of cable in the late 90s. But the shift to Quality TV made the anti-hero even more dominant in its complex narratives. In order to understand why, I had to identify what an anti-hero really is. Carl Gustav Jung’s theory of the archetypes is one of the most comprehensive and referenced theories when it comes to character development and screenwriting, but the more complex contemporary narratives are becoming, the more the theory is proving to be outdated. However, a particularly perplexing Jungian archetype stands out: the trickster-figure. The investigation into the definition of the trickster yielded different attributes that render it a highly postmodern concept. This dissertation aims at identifying the contemporary TV anti-hero as the mythical player of tricks. Through a survey of 21st century semiotics, structural and poststructural theories, as well as contemporary theories on character and engagement in Serial TV consumption and “binge” culture, this dissertation aims to show how the trickster-figure is as relevant today as it was in ancient times.

Le rôle des médias culturels subalternes chez les peuples indigènes du monde sinophone : analyse sémantique, enjeux et traductions

The paper aims to discuss the role that visual anthropology and subaltern cultural medias play among the considered indigenous peoples in the Chinese speaking world, and particularly in the four cross-Strait territories of China, Taiwan, Hong Kong and Macao. This paper suggests a semantic and historic analysis of the terms of indigenous, while retracing the arrival of these western concepts in Greater China as well as the manipulations and translations along history which are subjects of the present research. The western discipline of visual anthropology, together with cultural medias find their equivalences in these Chinese speaking territories, and are used for multiple purposes, which are not always clear. An analysis of their presence and use in these four territories by their respective administrations or by the indigenous themselves may allow us also to have a more precise understanding of the ties that each of these governments maintains with its constitutionally and potentially indigenous peoples. Finally, it will be stressed the fact that the reappropriated western labeling of the indigenous may not necessarily work in the specific theoretical context of the Chinese speaking world while attention should be paid to potentially subaltern groups in individual cases.

Ethical Evaluation of the Use of Women in Advertisements

Advertisements that offer consumers both lifestyle and behavior show women in forms. How should consumers’ physical appearance be is said in advertisements. The woman must be beautiful, well-groomed and thin in advertisements. If a fat, ugly or not well-groomed woman is in the advertisement, she changes thanks to the product. Thus, it is thought that consumers who take beautiful women in advertisements as role models will use the product by trying to be like them. The constant beautiful and attractive role of the woman revealed the problem of her commodification in advertisements. This causes ethical violations. Although the target consumers are not fellows, women appear as sexual objects in different product groups. It is common for women to be used in an admirable position other than the roles of housewife, employee, mother or spouse. Accordingly, advertisements can be divided into advertisements with or without sexual content. Women also attract attention in advertisements with or without sexual content. However, women are seen more in advertisements that emphasize sexuality.This study aims to reveal which tabloid magazine advertisements are using women, in which role women are involved in these advertisements, and whether sexuality is used or not. For this purpose, content analysis was performed on 119 advertisements published in magazines and the data were evaluated in the SPSS program. As a result, it is concluded that sexuality is used in the advertisements involving women.

Aesthetics of the presence of women in Afghan cinema

Cinema consists of two different dimensions of art and instrument. A tool that mixes with art and represents society in which anything can be depicted for others. But art has always sought to portray the beauties of this universe. The beauty that lies within philosophy. Since the advent of human beings, men have always sought to dominate and abuse women for their own benefit. In the 19th century, cinema entered the realm of existence and found its place in the human world. With the empowerment of cinema in the world, filmmakers tried to achieve their goals by using this tool.Many filmmakers use women as a propaganda tool to attract a male audience. In many films, when the hero of a movie succeeds in reaching a woman, or in doing so, she is succeeded by a woman. In this way, of course, women themselves are not faultless and have helped men abuse women. Afghanistan, a traditional and male-dominated country, has not been the exception, and in many Afghan films women have been instrumental zed and used in various ways to benefit men, and we have seen fewer films in which women be a movie hero or a woman in a movie like a man. This kind of treatment of women in Afghan films has caused other young Afghan girls to not have a positive view of Afghan cinema.

Candomblé e Cinema de Animação: Estratégias de resistência e territorialidade

The majority of the knowledge and philosophy of African roots find a great discrimination in public places in Brazil, rarely we see schools take in consideration those questions, popular knowledge and ways of living of those who follow those religions of African roots. Take in account that reality and seeking for changing it, the members of Abassá of goddess Òsùn of Idjemim, Paulo Afonso - BA, Bahia took the initiative of producing an animated stop motion movie about the Òrìṣà Òsùn. In this short motion “Òpárà de Òsùn: when everything is born” (2018) we can see the language of animation cinema being used to tell stories of Òrìṣàs like of a way clamouring the religiosity from people from traditional places and also a way of facing religious racism. In this work, we will present the process of production of a short motion, that took in consideration the bio system Caatinga and of the Sao Francisco river as a scenery of some events, staring from the sonorities and images produced by the people in the Terreiro and including the poetic language (could it be sounding and visual or spoken). From those elements, we reflect about the role played by this short movie on the empowerment of children and territorially as didactic and educative space.

Vídeo experimental e autorretrato

In the development of the relationship between the artist and his artistic creation, the deconstruction of concepts and ideas within the scope of artistic praxis leads to the reflection of the crucial role that the artist has in the conception and meaning of the work. His creative production, in turn, appropriates not only the expressive force of the author to assert itself as an artistic creation, but can also assume to be the reflection of the self, its identity and materializes in the form of self-portrait. The self-portrait expands the artist’s interiority, externalizing concerns and questions, and conveys a subjective point of view about himself and his view of art. But how does self-portrait contribute to self-awareness? And how does the artist reveal himself and communicate beyond his appearance?Based on these questions, the objective of this paper is to provide a reflection on self-portrait presenting the results of an artistic installation project that involved photographic language in the form of self-portrait and experimental video to represent feelings of disquiet. Influences such as Cindy Sherman, Lais Pontes or Francesca Woodman, whose creations approach the self-portrait in a not only original, but critical style, stand out.It is a project of academic and artistic nature supported by theoretical foundations. The results allow us to conclude that the artistic installation, which began by presenting a self-portraying self-seeking identity, frees itself from its creator to enhance multiple variable interpretations depending on the observer’s attention.

Ficção e fricção: imagens da Amazónia no cinema internacional

Explored by foreign travellers in different periods, the Amazon rainforest has long dwelt in the imagery of western countries. This trend is naturally extended to its numerous representations in cinema, often in a stereotyped perspective, full of clichés that respond to entertainment demands or to superficial foreign curiosity. This paper proposes to analyse its presence in some feature films produced mostly (but not only) in Hollywood along the last five decades. It aims at investigating how, in mainstream cinema, the features and characteristics that are supposedly typical of the region are shown, along with the demands of the respective film narratives, and at pinpointing the inevitable mismatches that emerge when facing the complexity of the ‘continent’ that effectively constitutes the region. In genres that run from adventure to comedy, fantasy or horror, film productions have set their plots there – partially, at least, and artificially or effectively – with varying approaches and degrees of depth to the region’s peculiarities. The choice of productions with so-called commercial appeal is due to such films having greater reach and international circulation. Thus their features are interesting for their capacity of spreading such imaginary, often with a shallow or distorted bias. The present is not a precise, socio-anthropological comparison between the ‘real’ Amazon region and that which is shown on the screens as a lost tropical paradise or a ‘green inferno’, for instance, but rather to point out how the logics of entertaining may assimilate a complex and multifaceted imaginary and present it in a simplistic, schematic, one-dimensional way.

Interseções entre Cinema e Pintura em Maria Antonieta de Sofia Coppola

The scene of Sofia Coppola’s movie, Marie Antoinette, is made in dialectic with pictorial works, which occur primarily in three forms: classical painting within diegetic space, as an element of scenography; painting as a scene, when the film picture incorporates the pictorial aesthetics of a canonical work; and the re-appropriation of a canonical painting according to the aesthetic molds of the fictional universe of the film in question, which was placed as scenic object.

O movimento das coisas: Jodie Mack e as animações experimentais em looping

Since 2003, the english experimental director Jodie Mack has used primordial resources of cinema to produce cinematically powerful and entertaining works. With looping as the main artifice, her films explore different speeds, textures, colors, cuts, reflections, compositions and points of view. In movies like “Dusty Stacks of Mom: The Poster Project” (2013) and “The Grand Bizarre” (2018), the musical background is a constant. In the first, the director makes a rock opera adapting The Dark Side of The Moon to record the fall of the poster market, transforming the cultural products accumulated in her mother’s store into discard and consequently into raw material for her abstractions. The second is a roadmovie that moves around the raw material, mainly fabrics, tapestry pieces and maps that move around accompanied by music. Her movies stand out in contemporary experimental cinema for the uniqueness of having fun; experimentation is a great joke. Our aim is to analyze how Mack’s works dialogue with the looping of Eadweard Muybridge and Étienne-Jules Marey’s pre-cinema, with Stan Brakhage’s experimental provocations that encourage the exploration of movement, colors, textures and with animated GIFs. Despite the cinema’s proximity to GIF, it is not an easy task to point out names in contemporary cinema that relate to GIFs. Mack’s films are one of the few that can be seen as a series of GIFs and possibly the only one that, through a range of visual stimuli, manages to create movies as GIFs.

Monumentos Virtuais: projeto audiovisual colaborativo para formato fulldome

This article presents the “Virtual Monuments” project that explores alternative modes of video production and projection, investigating other media, formats and practices. Our fulldome project is a collaborative interdisciplinary project jointly produced by the Federal University of Santa Maria/Labinter (Santa Maria, Brazil), Durban University of Technology/ Interdisciplinary Lab (Durban, South Africa) and the Federal University of Ceará (Fortaleza, Brazil). The aim of this project is to use the planetariums or different surfaces in these cities as sites for the projection of digital monuments collaboratively produced and shared between the three participating cities. Monuments are usually considered structures that occupy public spaces as cultural symbols commemorating important figures, events or elements of a culture´s heritage. Monuments can also be seen as sites where power can either be enforced or contested. The Virtual Monuments project was produced jointly as an experiment in multi-sited, collaborative, interdisciplinary creation between the three participating institutions in order to expand our understanding of the dynamic collaborative processes of ideation, creation, production, participation exhibition and reception. Each site contributed and participated in the creation of the others’ artworks, each one sharing their creativity and know-how to collectively realize these monuments as a tentative siting of dissolution of hierarchies and power structures within institutional creative environments. The project has been showcased in international events such as “Understanding Visual Music - UVM” at the Galileo Galilei Planetarium of Buenos Aires, “DIGIFEST” at Durban University of Technology, and “EFEMERA” at the UFSM Planetarium in Brasil.