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Digital 'flythroughs' are increasingly being used by museums to promote themselves to their publics and to extend their spatial and experiential boundaries. These complex, multimodal artefacts use 3D animation, AI imagery, drone footage, sound, music and other modes to construct a parallel museum experience. Such an experience is markedly dissimilar from an 'ordinary' embodied relationship to architectural space, and instead constructs an experience of elevated velocity, height and glissade. These movement style choices construct a 'non-naturalistic' experience of moving through space that differs considerably from the embodied experience constructed by digital walkthroughs, augmented and virtual reality and ordinary corporeal movement through a museum. Instead, they offer a potential imaginary, a supernatural or 'extracorporeal' embodiment of a kind typically associated with fantasy films, video games, amusement rides and dreams. This paper analyses 10 flythroughs from a variety of museums and locations through the lens of multimodal social semiotics. The systems of movement styles and visual validity are used to explore how meanings are made in the flythroughs and how they may be understood in terms of the 'fantasy' coding orientation. The implications for how museums construct their respective identities and relate to their publics are also unpacked. [ABSTRACT FROM AUTHOR]

Ingmar Bergman, acclaimed as a master of psychological cinema, is renowned for his ability to blur the lines between fantasy and reality in his films, delving into the depths of the human psyche with unparalleled nuance and complexity. This article embarks on an exploration of Bergman's unique filmmaking approach, aiming to dissect the intricate interplay between fantasy, reality, and psychological depth that characterizes his cinematic oeuvre. Through a comprehensive analysis of Bergman's key works, including "Persona," "Wild Strawberries," and "The Seventh Seal," this articale seeks to uncover the underlying themes, motifs, and techniques employed by the filmmaker to create immersive cinematic experiences that resonate deeply with audiences. By delving into the nuances of Bergman's storytelling, symbolism, and character development, this article aims to shed light on the enduring legacy of one of cinema's most influential auteur and the profound impact of his exploration of the human condition on contemporary filmmaking. [ABSTRACT FROM AUTHOR]

Overt and Covert errors are categorized as translation assessments that focus on functional match of lexical items. This study investigates functional equivalence (overt error) in translating idioms in the American fantasy film Maleficent. This study aims to explore the common problems in translating idioms because of non-equivalence and to describe the overt errors. The study used a mixed (qualitative and quantitative) research design, with random sampling technique used for data collection. The data of this study comprised twenty idioms from the film Maleficent, with the objective to examine the problem of non-equivalence in translating idioms. Baker's Functional Target Language Equivalence theory of translation and House' Model of Translation Quality Assessment were used to figure out overt errors. The study found out eight common translation problems including complexity of source-language words; difference in expressive meaning; source-language concept not lexicalized in the target language; source and target languages make different distinctions in meaning; target language lacks superordinate, cultural-specific concepts and specific terms. In addition, the study also discovered some overt errors in translating idioms due to breach of language system; change in meaning; cultural filtering, and distortion of meaning. This study was confined to only those idioms which have common non-equivalence problems; hence generalization of findings is not emphasized. [ABSTRACT FROM AUTHOR]

Neuromorphic engineering/computing addresses key challenges that modern electronics is facing such as high power consumption and high computing cost. Neuromorphic circuits for neurons and synapses will become key components to enable future neuromorphic computing system. Taking haptics for an example, in physical world, human haptic system is used to establish tactile sensation and feedback between human skin and physical objects. In Metaverse, computer haptics is used to build tactile sensation and haptic rendering when interacting with a virtual object and leads to an emerging technological field. This topic will be of great interest to thin film technology community and others to foster a discussion on possibility of using thin film devices to design such circuits for flexible and large area neuromorphic system. Author Keywords [ABSTRACT FROM AUTHOR]

The Banshees of Inisherin by Martin McDonagh (1970-) is black tragicomedy film. In this film, despite representation of the first fantastic scenes of the film, suddenly, all those beautiful images of the island turn into darkness and misery. Relied on the thoughts of Hannah Arendt (1906-1976), the political philosopher of the 20th century, this research tries to show why, despite all the initial beauties, in the end we see fire, war, death, immigration and misery and dissatisfaction. In this article, the focus of the discussion is based on three basic concepts in Arendt's book The Human Condition: labor, work and action. In the end, it is tried to show that it is the lack of the concept of action that causes all the darkness, bitterness and misery at the end of the film. In fact, this article tries to show that the desired trinity in the human world in Arendt's human condition must be realized together and side by side. Because the absence of action or ignoring and not understanding its ontological position causes the misery of the human world. [ABSTRACT FROM AUTHOR]

Web-based fanfiction is an increasingly important species of modern fiction that is necessary to understanding contemporary literary culture in a multimedia world. Using the Harry Potter fandom on the platform Archive of Our Own (AO3) as our case study, we combine close reading and computational analysis to examine the narrative features of fanfiction and the rhetorical commentary surrounding it. Our approach models a rapprochement between literary studies and fan studies, offering a new data-driven method for analyzing the relationship between traditionally published fiction, web-based fanfiction, and empirical forms of reader response. [ABSTRACT FROM AUTHOR]

Kaveh Askari, an associate professor and director of film studies at Michigan State University, discusses his research on the history of cinema and media, with a focus on art cinema, media distribution, and Middle Eastern cinemas. He explains how he developed the idea for his book, "Relaying Cinema in Midcentury Iran," which explores the material history of Iranian cinema through objects and archives. Askari also discusses the concept of relay and its relevance to understanding the circulation of cinematic and media objects. He examines the influence of Hollywood films on Iranian cinema and the complexities of their interdependencies. Additionally, he analyzes the failure of the Iranian-Hollywood collaboration film, "The Heroes/The Invincible Six," and its impact on Iranian cinema. Askari concludes by highlighting the lessons learned from this film project and the importance of writing histories that acknowledge uncertainty and contingency in the film industry. [Extracted from the article]

Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In a neoliberal society that sanctifies youth, the devaluation that accompanies old age among women joins hands with gendered power relations to produce intersectional oppression. Accordingly, the available possibilities for challenging this intersection in fantasy films carry a particular interest from a feminist perspective. This qualitative study examines the intersection of gender and age through the analysis of Dong-hyuk's comic fantasy Miss Granny, which depicts the dramatic changes in the life of its heroine, who magically transforms from a woman in her seventies into a young woman in her twenties. The focal point of the study lies in the question of how aspects of oppression and expression are articulated at the distinct time periods and chronological age in which the film's heroine is depicted. The findings suggest that the film undermines the existing social structures by placing an old woman at its center, allowing the audience to get to know and like her. The miraculous alternation between old and young demonstrates that women in the neoliberal present may have more opportunities to express themselves; however, their struggle for agency continues, as the values of hyper-individualism clash with relational values, preventing them from actualizing themselves as complete human beings. [ABSTRACT FROM AUTHOR]

Framed by Guillermo del Toro as "a love letter to the cinema," the academy award-winning feature The Shape of Water (2017) speaks to one of the core debates in film studies: film's status as a "universal language." Paradoxically both propagating and critiquing this idea of universality, a vast knowledge of film history, cinematic techniques, and a desire to create what the director calls a "cinematic Esperanto"—or a globally legible film tradition—informs a film that celebrates the multiplicity of "languages" possible in film as a medium. Reading The Shape of Water as a series of films-within-films—fantasy within realism, black-and-white within color, and a silent film within a "talkie"—I reveal the myriad communicative forms accessible within cinema as a visual, temporal, and mobile medium. The foregrounding of "a speaking silence" in the interactions between the mute Elisa and the Amphibian Man, a pre-linguistic, but communicative, sea creature, acts as a set piece—a silent film within the larger film proper—that celebrates the universal language of gesture, while the situation of this nested narrative within a larger film tradition of "talkies" speaks to the ultimate displacement of the fantasy of universality by the adoption of the voice in film. Through a close attention to film stills, the formal composition of scenes, and the sparse, multilingual dialogue, I examine The Shape of Water's critique of a monolingual "universal" filmic language and celebration of the radical multilingualism possible in the cinema. [ABSTRACT FROM AUTHOR]

This essay examines the display of technological objects, consumer goods, and other materials within the earliest Spanish realist cinema, as well as the manipulation of things in pioneering fantasy films, to reveal how Spanish filmmakers projected the modernity of Spain and thereby addressed foreign objectification of their nation as exotic or different. Through an analysis of several actualities, point-of-view rail films, and factory films produced in Barcelona between 1900 and 1930, as well some key Segundo de Chomón trick films shot in the city, this article shows how this early Barcelona film culture deployed material forms to mark the agency and cosmopolitanism of turn-of-the-century Spain and to contest the "cabinet of curiosities vision" that French actuality filmmakers in particular had once imposed on the nation. [ABSTRACT FROM AUTHOR]

"The Tenth Legion" is a film by Warren Sonbert that was thought to be lost but was discovered after his death. The film follows the daily lives of young protagonists, showing both their work and leisure activities. Sonbert creates a narrative structure through the repetition of daily events and pop songs on the soundtrack. The film explores themes of ambition and youth, ending with Frank Sinatra's song "Young at Heart." Sonbert's films are known for their recognizable style and focus on little moments that may seem ordinary but hold significance. [Extracted from the article]

This article examines the intersection of gender and disability in The Glass Menagerie, a 1944 play by the acclaimed American dramatist Tennessee Williams, and the 2010 Iranian film adaptation Here Without Me, scripted and directed by Bahram Tavakoli. Disability studies refer to a relatively new discipline which seeks to investigate the variegated continuum of embodiment through cultural discourses that challenge the medical and scientific perceptions of disability. In the adapted film, compulsory able-bodiedness, the belief that perfect healthy bodies are the norm, while freakish, different, and disabled ones are deviations from the said norm, is seen on the screen countless times, a view established by the dominant culture of normalcy. As a site of intercultural transposition, the film re-contextualizes the intersection of gender and disability in contemporary Iran and hence throws some of the tacit assumptions regarding embodied experience into relief. Both the play and the film implicate fantasy as an implicit critique of normalcy. [ABSTRACT FROM AUTHOR]

The article reviews Guillermo del Toro's film "The Shape of Water" and its exploration of themes related to social inequality, immigration, and gender discrimination. It discusses the film's use of fantasy and fairy tale elements to provide social commentary and examines its representation of otherness, power dynamics, and gender relationships within a transnational cinematic context.

Purpose: The aim of the paper is to assess the possibility of using narrative attributes applied in film and literary works for creating tourism products based on the attitudes and preferences of potential tourists with different levels of narrative. Design/methodology/approach: In the research procedure, desk research was used to define the attitudes and preferences of potential tourists, which were examined in terms of sensitivity to narrative related to the place. Then, an online survey (CAWI) was conducted among 200 respondents who were asked a sequence of questions about attitudes towards narratives related to the setting of the plot appearing in literary works. On this basis, potential tourists were divided into 3 groups: people with a low, medium and high level of sensitivity to narrative related to the place. In addition, they were asked to indicate their propensity to visit places related to film and literary works, and finally to determine the importance of various factors (pull factors) influencing the perception of the narrative. In the study, it was assumed that the tourist development of a given town can be intensified if a given place can be associated by potential tourists with a story that is described in a novel, film or series appearing in pop culture. Findings: The highest declarative inclination to visit a plot-related place is represented by people with a high level of sensitivity to narrative, which is in line with expectations. However, people with its low level more often decide to visit a described place. This may be due to their emotional insufficiency related to the narrative. Probably, when planning tourist trips, they want to become a "real" part of the plot. On the other hand, people with a high level of sensitivity are most emotionally attached to the narrative and, despite a higher declarative tendency towards visiting places related to the plot, they less often decide to actually travel. The lowest tendency to visit places related to the plot was declared by undecided people (with an average level of sensitivity to narrative) who, at the same time, constituted the largest group in the study. People responsible for film tourism should focus on this group. Places related to film and literary works in their home country are most often visited. Research limitations/implications: It is worth empirically verifying the possibility of developing film and literary tourism products based on fictional places related to fantasy films and series, not only such well-known and developed products as “Game of Thrones” or “Harry Potter”, but also other productions, because they are very popular and have a group of loyal fans. It is also worth using the criterion of sensitivity to narration as a moderator in future research. Practical implications: The group of people with an average level of sensitivity to narrative is the most attractive group for the authorities of territorial units due to their size. There are 4 narrative features that are worth considering to attract this group to the place: the attractive plot of the film, the experience/skills of the actors, the actors selected for the role and the actor's portrayal of the character, i.e. acting skills. In the promotional policy, it seems necessary to use the presence of actors and recreate the most attractive scenes from the film's plot in the design of promotional campaigns and the film tourism product itself. Originality/value: The article contains a list of attributes that can be used in a promotional campaign of a place related to a literary or film work. These attributes are perceived differently by various target groups divided according to the criterion of sensitivity to narration. The paper is addressed to the authorities of territorial units, both at national and local levels, and to people involved in the tourist development of a territorial unit. [ABSTRACT FROM AUTHOR]

During the Victorian age, post-mortem and spirit photography became increasingly popular so that those who had lost dear people were offered an extended mourning ground. These types of images were produced in great number in order to prove the existence of the other world. It is natural that many of these dead people portraits deal with transparency, blur and diffusion, as the result of superimposing reality and spectrality. Later on, ectoplasms were caught on photosensitive materials by a great number of spirit hunters, aiming at the same purpose of demonstrating the physicality of the invisible order. Cinema imported the spiritualist themes and the subjects related to them and continued the same tradition of revealing to the common eye of the spectator a supernatural realm. Our paper analyses the aesthetics of different styles and techniques of working with these delicate subjects in photography and film throughout the ages, from Mumler to Méliès. [ABSTRACT FROM AUTHOR]

The Nigerian youth's restiveness and licentious acts have come under the purview of the public interest in recent times. Consequently, the rise of ritual killings and other social vices amongst the younger generation in the country questions the teaching model and learning environments designed to impart knowledge to Nigerian children. The objective of this study is to evaluate the aptitudes of fantastical and realistic film environments in child's learning and nurturing. The study, through the adoption of the content analysis approach of qualitative research method, evaluated the impact of the fantasy genre and fictional reality film environments on children and thus analysed. Harry Potter: The Sorcerer's Stone (A British Fantasy Film) and My Kids and I (A Nigerian Fictional Reality Film). The study utilised Skolnick Weisberg's theory of Mise-en-place: Setting the Stage and Nkemakonam Aniukwu's Screen Institution Postulation, in examining the influence of fantastical and fictional reality film environments in child's learning. The study discovered that some films produced in the Nollywood film industry have the capacity of thwarting the child's mind and this could lead to misconceptions of certain principles and standards of the society and subsequently change his behaviour towards other members of the public. Parents should also play a vital role in monitoring and curtailing what the children are watching on their screen interface. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Humanisticos. Filologia is the property of Universidad de Leon, Area de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to analyze the film Uzaklarda Arama. Uzaklarda Arama, directed by Türkan Şoray, one of the stars of Turkish cinema, is a film that tells multiple stories that can be located at the intersection of independent and commercial cinema, contemporary cinema, and Yeşilçam, breaks stereotypes and has a contemporary narrative structure that does not include stereotypes. The film establishes a discourse and a formal language of its own in an intermediate region that it has built for itself, both in terms of cinematography and scenario. In terms of not only the film's theme but also the use of music and dialogue, it is one of the few examples of recent Turkish cinema that has been highly affected by Yeşilçam. Unlike classical melodramas, the film does not reproduce the controversial male-dominated view of Yeşilçam in terms of gender, and even discusses this view both narratively and formally. Although it has certain features of the melodrama genre, which is the dominant genre of Yeşilçam, it also contains features of various genres such as fantasy films and fairy tales, and it is possible to say that it is a women's film produced from a woman's point of view. The method of the study is qualitative content analysis. [ABSTRACT FROM AUTHOR]

In our age, due to the rapid development of electronics, information flows at an amazing speed from the point of creation to the place of use, but in addition to electronic data traffic, we would also require physical location change at a similar rate. Due to our accelerated lifestyle, there is a growing need to implement a door-to-door fast delivery system. Current road freight transport accounts for a significant proportion of surface transport, but its efficiency is greatly impaired by congestion on the roads. The potential for road networks to be developed on the surface is limited, raising it above the surface, as is often seen in fantastic films, is impossible without antigravity knowledge, and highways are expensive to construct, the cityscape will be worse, moreover, it is not an aesthetic view from the windows of the buildings. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

American superhero-themed films can represent good characteristics and they could be a good way of developing one's characteristics. By utilizing American animation, superhero and fantasy films as the main data such as Fantastic 4 (2005), Fantastic 4: Rise of Silver Surfer (2007), Frozen (2013), Black Panther (2018), Frozen II (2019), and Aladdin (2019), this qualitative research focuses on the significance of character development and the representations of good characteristics depicted in the films which can be used as a tool for character education. The process of analysis involved the use of Stuart Hall's representation theory. The results of study suggested that character is something that is essential to develop, especially in teenagers and it is not only about having a good attitude, but it also involves living a good life. In addition, this study showed that at least five good characteristics such as caring, tolerance, politeness, solidarity and kindness frequently appeared in the observed films which can be used as media for teaching about characters at schools or informal educational institutions. [ABSTRACT FROM AUTHOR]

The scholarship on using popular culture – specifically from films – as an effective educational tool to enhance teaching opportunities that link leadership theory to practice has gained traction in the past decade. This article extends the discourse and uses Harry Potter, the cultural phenomenon fantasy film series, as a source of teaching material apt with practical lessons in leadership. A content analysis of the 8-film series found 151 leadership scenarios that can be used as models in which leadership theories and approaches can be recognized, applied, and promote classroom discussion. However, seven specific clips are showcased to recognize a limited number of leadership theories and approaches frequently taught in a public affairs leadership classroom. They include the situational and behavioral approaches to leadership, leader-member-exchange theory, authentic leadership, team leadership, transformational leadership, and race/culture in leadership. [ABSTRACT FROM AUTHOR]

With the use of genre classification in cinema, a mutual interaction has emerged between the producers and the audience. The audience can choose a theme for the content of the film by using the genre label, and the producers begin to produce for the potential that the audience created. Genres whose boundaries were drawn at the beginning after a while intertwined, and the hybridization of genres took place. In this study, which was carried out within the framework of the fantastic genre, fantastic was considered as a "hybrid genre". The fantasy genre is assumed to reflect the diversity of many subgenres in terms of cinematic form and content, and it is thought to be inspired especially from mythological sources. Harry Potter and the Philosopher's Stone which is one of the contemporary fantasy films and remains popular long years has been chosen as the sample of the study because it contains many different mythologies in its plot. In addition, the scope of this research is limited to this film. Thus, this research aims to analyze how an intertextual transfer is made between mythological texts and cinema in the context of fantastic genre. As a result, it has been determined how the events, heroes, monsters and magical objects in the movie correspond to mythological elements. [ABSTRACT FROM AUTHOR]

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Das Fahrrad, Evelyn Schmidt examines the fraught relationship of the protagonist, Susanne, to ambition and belonging in her social and national environment. The film shows how her attachment to the fantasy of good motherhood reins her in when she transgresses and continues to function even when her attachment to national narratives of happiness and success through work and a heterosexual relationship breaks down. Drawing on Sara Ahmed's and Lauren Berlant's contributions to contemporary affect theory, this essay categorizes Susanne's responses to the world as queer, willful, happy, and cruelly optimistic in order to reframe the film's perennial themes. Ultimately, I argue that the othering of lived experience and its representation in the GDR contribute (intentionally or not) to triumphalist discourses that posit neoliberal capitalism as the proper response to the systemically driven drabness, monotony, limitations, inequities, and unhappiness so oft en associated with life in communist and socialist states. [ABSTRACT FROM AUTHOR]

In order to exemplify the interaction between architecture and science fiction films, Doctor Strange (2016), one of today's cinema examples, was chosen because of that the special effects created in computer environment by transferring the dreams to the film have a surrealist effect on the film; of the fantastic spaces that arise with the deformation of real places become the main character of the film; of foreseeing a different future in terms of architecture. Within the scope of the study, the film was read through the changes of time and space of the concepts of "reality bending" and "simultaneous motion". As a result of the readings on these concepts, the relationship of cinema with architecture has gained a different dimension, and it has been seen that this film can create a fantastic perspective and inspiration to the designers about the future deconstructivist buildings. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses about the articles in the issue including "The Radical Unreal: Fabulation and Fantasy in Speculative Documentary", "Antipodal Connections: A Pair of Argentine Documentaries and Their Korean Women Subjects" and "Small Axe."

Chao Shiyan analyzes Hong Kong director Ho Meng-hua's films in the fantastic mode, ranging from fantasy adventure to horror through the 1960s and 1970s. Chan concludes that Chow's deployment of Sino-enchantment and Buddhism reveals that he is not just a commercial filmmaker but also is the producer of films with a serious moral message. Edited by Kenneth Chan and Andrew Stuckley. [Extracted from the article]