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Any uniform semantic treatment of fictional names (e.g., ‘Frodo’) across parafictional statements (e.g., ‘In The Lord of the Rings, Frodo was born in the Shire’) and metafictional statements (e.g., ‘Frodo was invented by Tolkien’) runs into a variation of the ‘wrong kind of object’ problem. The problem arises when an analysis of one of these statements inappropriately attributes a property to an object. For example, it would be problematic if an analysis implied that flesh and blood individuals are invented by someone, and similarly problematic if an analysis implied that abstract objects are born in a certain region. Abstract object theory has provided a solution to this conundrum by distinguishing two modes of predication: encoding and exemplifying. Recently Klauk has argued that the problem reappears for the analysis of explicit parafictional statements in this theory. In this paper we formalize the objection and show that one can distinguish three issues in connection with the ‘wrong kind of object’ problem. We then address them in turn.
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Subtitling is a technique of audio-visual translation to which apply particular translating procedures. In Croatia, it is the method of choice when it comes to translating almost all imported audio-visual material. Probably due to the ephemeral nature of this type of translation, since the maximum period of time a subtitle can stay on screen can not be longer than six seconds, Croatian linguistics has so far witnessed only a few linguistic and translation analyses, even though subtitling reaches by far a vaster public than any other translation technique. The paper deals with the aforementioned subject from the point of view of the Italian studies in Croatia. It analyses translation methods employed in the Italian subtitling for the award-winning Croatian short film Ritki zrak (“Thin Air”, 2016). Firstly, the language variety used in the film, which can be defined as contemporary Split youth speech, is described from dialectological and sociolinguistic perspectives. Then the translation strategies used in the subtitles are presented. The analysis is carried out by using the theoretic models proposed for this text type, primarily those of Gottlieb and of Lomheim. Both are based on a classification of procedures used for the purposes of maintaining in the target text the largest possible amount of semantic, stylistic and cultural information present in the source text. Particular attention will be paid to the treatment of culture-specific items which are difficult to translate due to their non-existence in the target culture. Finally, the characteristics of subtitling as an AVT technique will be discussed based on the conducted traductological analysis. Some general observations on the orientation of the translation in this text type will be presented as well.
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The paper focuses on the grim realities of black criminality in D.C. ghettoes. The two films chosen, Slam (1998) and Streetwise (1998) provide a portrayal of Washington as a ‗murder capital‘ of the US in the 1990s. The analysis will highlight the devastating effects of the crack cocaine consumption and commerce especially within the African American communities who try to overcome poverty by taking part in the thriving business of drug dealing. The films also highlight this urban black youth‘s talent and passion for poetry and music that, although hampered by their social background, are practiced by them as their means of survival.
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The research for this paper was initially prompted by the insights of Alison Landsberg (Prosthetic Memory, 2004) on the development of prosthetic memory, namely the phenomenon of personally experienced content through the mass media – and the idea to apply the same insights to the film "Quo Vadis, Aida" (2020) directed by Jasmila Žbanić, because of the relevance of its topic on the Srebrenica genocide in 1995 for modern society. This paper analyzes the difference between collective and prosthetic memory, affective engagement concerning the process of identification in acquiring historical knowledge and prosthetic memory, and the elements of the film that encourage epistemological uncertainty and therefore potentially develop historical awareness and responsibility. Given the example of the film "Quo Vadis, Aida?", this paper aims to show the potential of mass media in developing prosthetic memory, which consequently brings to thinking about the other from the current perspective, thus encouraging moral responsibility and critical thinking.
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In this study I tried to analyze some artistic documentaries that I considered representative of the way in which they, through linear or non-linear narration and image expressiveness, through the ability to evoke the tragic experience of the Holocaust, have pedagogical purposes and co-participation, along with other arts and cultural products, to the European reconstruction of the culture of memory. In this article, I discuss four nonfiction films released by Romanian filmmakers in the 21st century that represent valuable contributions to the rich and varied international filmography of the Holocaust. Struma (2001) by Radu Gabrea, The Dead Nation (2017) by Radu Jude, and The Exit of the Trains (2020) by Radu Jude and Adrian Cioflâncă, ranging from standard television documentary to innovative cinematic essay, bravely approach dark episodes, largely unknown or ignored, in Romania’s history.
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The article examines the genre of historical film. It evaluates its documentary and historiographical possibilities, compares the relationship and value of written and visualized history for historical research, popularization, and teaching of history. It differentiates the approach to the processing of historical themes in documentary filmmaking and feature films. It evaluates the possibilities of cinematographic processing of historical events in comparison with the written description and the possibilities of cooperation of filmmakers with historians in film production. It also calls for a substantial expansion of the means of expression provided by digital production (CGI). Subsequently, it also deals with the possible role of the creator – director of film work and his responsibility for respecting historical facts, in the context of dynamically evolving technology, and its use in the circumstances of unlimited possibilities of digital production.
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In the paper we would like to point out a specific tendency present in contemporary journalism, which has been strengthen during the COVID-19 pandemics: namely (a) usage of digital technologies in representing the virus itself and the global/local situation concerning the spread of the virus and (b) building up the narration, which struggles to explain the situation ‘with covid’. Our argument is that the narrative of virus invasion follows the pattern of unknown thread very similar to the narration of classic Ridley Scott’s feature movie Alien (1979) using the available representational technologies (as Scott used in 1970s).
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Today, superhero films are seen as the most popular and financially valuable forms of globalised movie production. Given the fact that the market segment they are a part of is quite oversaturated, their producers and creators tend to seek new or rather innovative ways of portraying movie characters with supernatural features and special talents. The movie Venom is one of the most financially successful film products of 2018. Its story differs from other similar movie narratives in various aspects. The paper aims to discuss Venom’s main protagonist, Eddie Brock played by Tom Hardy. Brock is not only an unlucky man, who is forced to live in a symbiotic relationship with an alien organism named Venom, but, still and above all, a talented journalist. We offer a narrative and discourse analysis of the movie in question, which focuses on Eddie Brock’s role as a journalist, pointing out how he embraces his symbiosis with Venom and what it means in relation to his former (and future) career in the media. While discussing the outlined topic, we argue that Eddie Brock’s occupation is one of the key factors driving the film’s narrative.
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The constant increase in audiovisual productions leads to the enlargement of the subtitling process. In the rise of Spanish films and series, this work aims to highlight the challenges faced by translators when carrying out this work, making a brief foray into the linguistic modalities of translating La casa de papel into Romanian subtitling. The case study includes only the first four episodes of the first season and, at certain points, references the English version. Previously, a concise tour of the subtitles problem is made.
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The paper deals with the Hollywood blockbuster film Black Panther and its perception by the professional public, as it represents a certain milestone in the genre of films based on comics also with African American approach. It also deals with the concept of Afrofuturism, which has reappeared in professional articles thanks to this movie.
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As a result of technological developments, radical changes have taken place in the field of study of many disciplines. In particular, science branches like folklore are using more and more from digital fields in terms of data collection and analysis. In this context, genres such as animation, which arise due to technological developments, function as a contemporary “folklore narrative” in the 21st century due to the cultural element they contain. The animation, which has a history of about 100 years, has a folkloric infrastructure, especially with the establishment of the Disney Studio. From this point of view, it will be seen that animation also has a great deal of function on culture transfer. A clear example of this is Japan. The animations created by adding their own cultural elements to the techniques they acquire from the West are an important tool in the popularization of Japanese culture. Animation, which has a history of about 60 years in Turkey, has shown a great improvement especially with the establishment of TRT Children’s channel and it has been provided with the representation of Turkish culture. Dede Korkut Stories and Keloğlan, which have been transferred to animation in recent years, are examples that reflect the relationship between animation and folklore. Moreover, the animation departments at the universities allow the professional animator to train. When all these features of the animation are taken into consideration, it is possible to say that it is one of the most important cultural transmission channels of the 21st century. In this study the relationship between animation and culture transfer, was questioned on animation history and it has been concluded that animation has a great influence on cultural transfer.
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The 21st century has seen a growing awareness of the serious impact of film and television production on the natural environment. The film industry pollutes our environment in many ways, including carbon dioxide emissions, waste production, and energy and water consumption. The initiatives for sustainable development undertaken in many sectors of the economy have also reached the film industry. In Europe and the United States, various organisations and institutions have developed a number of recommendations in the field of sustainable film production. This paper, set in the film studies trend known as production culture, presents the global context as well as the nascent Polish practices of green filming. These initiatives, based on European examples, have so far been mainly bottom-up and dispersed or in the form of non-binding recommendations. The handful of producers and authors who have undertaken them are not in any way encouraged to be eco-friendly. Driven by their concern for the environment, however, they show the forward-looking way of thinking that should be followed by the entire industry.
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Review of: Urszula Niewiadomska-Flis - Beata Zawadka. Dis/Reputed Region: Transcoding the U.S. South. Wydawnictwo Uniwersytetu Szczecińskiego, 2018, 194 pp., ISBN: 978-83-7972-178-8
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Based on the idea that cinema is one of the most effective ways of representation of reality and is also a cultural representation, it is possible to state that the subjects dealt with in the cinema are actually a reflection of social life. Disabled individuals constitute one of the most disadvantaged groups of society. It is seen that the concept of disability and its representations take place in a very limited number of media productions. It is known that the representations of the disabled in the media are made according to certain patterns and that these representations reinforce the prejudices in the society. Disabled individuals take place in media productions either as weak, dependent, in need of help, other, victims of violence or as superhuman others in success stories. These two forms of representation are attitudes that make them look ‘abnormal’, which reinforces the discrimination that individuals with disabilities are exposed to in daily life. This study examines how disabled characters are represented in cinema. In this context, the concept of disability and the position of disabled individuals in the social structure were examined by the method of deciphering the concept of disability and how disabled characters are represented in Miracle (2015) film selected as examples by addressing the position of disabled individuals in the social structure.
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The aim of this research is to analyze and reveal the fictional spaces of the movies called “Hobbit” adapted from fantastic English literature in terms of similarity. In this context, the concepts of space, interior and fictional space were examined and then all these concepts were discussed together with fantasy fiction. In addition to literature, the effect of fictional spaces of this genre on the perception of design, especially in cinema, is mentioned. “Hobbit” literary work and movies, which are considered as an example of fantasy fiction genre, were examined and comparisons were made with the visuals. As a result, it has been seen that there are intense overlaps between the book descriptions of the work and the movie locations in terms of similarity.
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„Youth without God“, Ödön von Horváth’s novel (1937) is even in its latest film adaptation (2017) an important narrative of the upcoming totalitarian structures in our society. JoG is not a historical film on the emergence of National Socialism in the 30s of the past century, but it is rather a dystopia. The producers Aselmann/ Aldenhoven and the director Gsponer have set the story of the murder of a schoolgirl in the “not too far future”. The film showcases social injustice, especially in the educational system, and dangerous tendencies like surveillance and manipulation through media, and thus becomes a reflection of our own society today. The film shows us the consequences of not being active on time against totalitarian structures as well as of not fighting for a better future. As against Horvath’s novel, there is an alternative concept of youth in the film (especially in the finishing shot), which gives us hope and which is a kind of visionary anticipation of the Fridays for Future-Movement.
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As death returned to make its mark on the world with the COVID-19 pandemic and, consequently, resurfaced in the social imaginary, we have found ourselves once again full-throatedly asking questions about what it means to die well. These issues lie at the heart of W;t, an American play penned in the early 1990s by Margaret Edson, which could be situated alongside other fictional and true stories that “provide social scripts for dying” (Knox). The play might also be viewed as a modern reference to the medieval tradition of ars bene moriendi and the morality plays linked with that tradition in a symbiotic, synergistic manner. The essay attempts to demonstrate that the meaning underlying Edson’s play (and its television adaptation of 2001) derives primarily from its grappling with the subject of human’s agency in the face of the inevitable. In its close reading of the play, the essay moves between the text, first published in print in 1999, and the screen, to best tap into the interpretive potential of comparing the drama and its film adaptation.
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This article is an attempt to investigate contemporary film theory highlighting the inseparable connection between cinema and the human body and seeing, in which sense this theory complements academic recognition about neomodernism. The author expands on the philosophical concept of experience, showing problems posed by its conceptualization, and also points to the connection of this term with the body and sensuality. In the next part, the main distinguishing features characterizing the dramaturgy of cinematic neomodernism are given. The author argues that the dramaturgy of this movement creates a different kind of cinema experience in general. The final part presents an analysis of two films which are examples of the theory of cinema as senses, as well as exemplifying the dramaturgy characteristic for neomodernism, and thus creating a specific type of experience in the viewer.
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