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The article explores actress Keira Knightley's unique star image, focusing on the tension between her roles in period dramas and the media's objectification of her body. Topics include Knightley's preference for feminist, period roles, the duality in her public persona created by the intersection of these factors and the impact of media scrutiny, body image discussions, and the influence of Knightley's own views on her star image.

The article examines actress Sandra Oh's groundbreaking role in the television series "Killing Eve," focusing on her rise to stardom and the impact of her portrayal of Eve Polastri in terms of both ethnic representation and the show's prestige. Topics include the representation of Asian American identity through Oh's character, the rise of quality TV and its influence on stardom, and the challenges Oh faced in Hollywood due to typecasting and the limitations placed on Asian actors.

The article analyzes the themes of death and love in the film "8 Femmes" directed by François Ozon through psychologist Jacques Lacan's psychoanalytic theories and philosopher Slavoj Žižek's perspectives. Topics discussed include the film's character Marcel's complex relationships with the eight women, the symbolic network that predetermines his fate and the psychological implications of his choices regarding identity and agency.

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) 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.)

The study examines transfer strategies in identity construction instances, in Greek and Russian audio-visual translation (AVT) modalities (subtitling and dubbing), of the English animated film for children, The Rise of the Guardians (2012). It explores whether and how translator awareness of target cultural background may affect the strategies used in the transfer. Results suggest that the level of un/familiarity of a target culture with a source-text (ST) cultural item affects the translation strategies across English-Russian and English-Greek differently, on the basis of preferred politeness orientations (negative and positive, respectively) prevailing in the target environments. Testimonies of film viewers and questionnaire respondents who are unfamiliar with the cultural items confirm aspects of the analysis. The significance of the research lies in that it provides further insight into the way Greek and Russian AVT practices handle and transform English audio-visual unfamiliar entities, which may advance understanding of cross-cultural processes in AVT. [ABSTRACT FROM AUTHOR]

The article investigates the language used by the movie characters Barbie and Ken in the film Barbie, directed by Greta Gerwig. The Polish dubbing version is the subject of analysis. The author posits that the language of film characters is a contributing factor in the formation of their respective stereotypes. In the case of Barbie and Ken, this is significant, since both characters are cultural icons, and their stereotypical image is well-known in many cultures. Consequently, they can be regarded as exemplifying a specific gender and social group, and the utterances in question can be viewed as a gender-dependent variant of language and a variant of language characteristic of one particular social group. Given the exaggerated nature of Barbie and Ken's utterances, it is necessary to consider them as stylised. Furthermore, they leave considerable scope for interpretation. It could be argued that the film is a satire of the feminist movement and an indictment of an order based on male domination. Alternatively, it could be seen as a representation of the voices of women and men in the struggle for equal rights. [ABSTRACT FROM AUTHOR]

Celebrity endorsements are a time-tested tactic, but marketers have added a twist: endorsements featuring not actors as themselves but as the characters they play in film or television. In two experiments, the authors investigate these "character endorsements." Study 1 establishes that a construct that is new to endorsement research, certainty of meaning, helps to advance understanding of how character endorsements operate. Study 2 shows that character endorsers buffer a paired brand against scandal. The authors conclude by discussing theoretical and managerial issues. [ABSTRACT FROM AUTHOR]

Representation of the disabled community is often associated with negative stereotypes. This negative connotation, among others, includes the difficulty of having a perfect life, being considered a burden, not having opportunities for romantic relationships, and being dependent on others. In the Malaysian context, studies on the representation of disabilities through the media are still not extensive. The representation of these disabled is more prevalent on television programs. While in newspapers, the stereotype is maintained. At the same time, several locally produced films centered on this issue. Taking the problems mentioned as a basis, this study looks at the representation of the disabled in local films. This study uses a close reading method on 5 films which are Redha (Beautiful Pain) (2016), Pekak (2016), Guang (2018), MagiK (2023), and Abang Adik (2023). The findings reveal that while stereotypical representations persist, these films also highlight universal humanitarian issues and the talents and advantages of disabled characters. This new representation challenges existing stereotypes and offers a more nuanced view of disability. The study concludes that although there has been progress in portraying disabled characters in Malaysian films, further efforts are needed to ensure that media representations are inclusive and free from harmful stereotypes. [ABSTRACT FROM AUTHOR]

Alfred Hitchcock, the master of suspense, is renowned for his unique cinematic style and profound insights into the complexity of human nature. Among the various female characters in his films, the mother figure holds a particularly significant place. This article proposes the concept of "maternal emptiness" to describe the predicament of the mother figures in Hitchcock's films, where they are often depicted as distorted, dark, and somewhat lacking in maternal essence. Drawing on psychoanalytic and feminist film theories, especially the works of Jacques Lacan, Julia Kristeva, and Laura Mulvey, this study aims to deconstruct Hitchcockian "maternal emptiness" and explore its deep-rooted causes. Through a systematic examination of the mother figures in Hitchcock's filmography, this article identifies the following three main categories: the mother roles of blonde women, the mother roles of female protagonists, and the mother roles of male protagonists. Close textual analysis reveals that these mother figures, despite their apparent diversity, share a common plight—a deviation from the maternal essence of love, care, and nourishment. This "maternal emptiness" is further traced back to Hitchcock's childhood traumas, the patriarchal ideology in the cultural context, and the changing status of motherhood in modern society. By engaging critically with existing Hitchcock scholarship, including the works of Tania Modleski, Paul Gordon, and Slavoj Žižek, this study situates the concept of "maternal emptiness" within the broader discussions of motherhood in cinema. It explores how Hitchcock's representation of mothers both reflects and challenges contemporary understandings of maternity. Furthermore, this study examines the enduring influence of Hitchcock's maternal representations on contemporary cinema, analyzing films such as Darren Aronofsky's "Mother!" (2017) and Ari Aster's "Hereditary" (2018) to demonstrate the ongoing relevance of "maternal emptiness" in modern film discourse. The study concludes by considering the legacy of Hitchcock's maternal representations in contemporary cinema, demonstrating the ongoing relevance of the concept of "maternal emptiness" in film analysis and its potential for reimagining maternal subjectivity in cinematic representation. [ABSTRACT FROM AUTHOR]

This article examines the interaction between Cervantes' Don Quixote and its cinematic transmutation in Un tal Alonso Quijano by Libia Stella Gómez (2020), focusing on the characters of Don Quixote and Dulcinea. We begin with a consideration of the type of adaptive approach and the change in semiotic medium proposed by Un tal Alonso Quijano, based on which we compare some aspects of both stories. Subsequently, we analyze the interpretation and original development present in the film of the characters Don Quixote and Dulcinea, specifically as residents of Bogotá in the 21st century who, amid frustration, choose to wear a mask. However, in the end, through a process of disenchantment, they will come to understand that they must confront their fears without resorting to imposture. Thus, Gómez's proposal gives the characters a new configuration that ultimately contributes to keeping the Cervantine myth alive. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

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]

While colonial cinema has been studied as an epic and propagandistic text of the Franco Regime (Elena, 2010. La Llamada de África, Estudios Sobre el Cine Español Colonial. Barcelona: Bellaterra), the presence of Africans in Spanish filmography before 1975 has gone unnoticed. Few saw their names in a movie's credits. When an African had some lines due to script requirements, the role was offered to African American and Afro-Latin actors, or it was performed by sinister blackface actors without the slightest qualm. In this game of masks, the African Negro is at the bottom of an absurd melanocratic classification that dissociates race and color. Invisible as mute bodies and faceless ghosts, the extras, a non-detachable part of the set, do not act but are "acted out" (Didi-Huberman, 2012. Peuples Exposés, Peuples Figurants. L'œil de l'histoire, 4. Paris: Minuit). In this article we examine the hierarchy underlying a racializing assemblage (Weheliye, 2014. Habeas viscus. Racializing Assemblages, Biopolitics and Black Feminist Theories of the Human. Duke University Press) indissociable from Spanish (self)exoticism, as well as the conditions that exceptionally allow the presence of African characters played by African actors. [ABSTRACT FROM AUTHOR]

What eating and drinking habits can be observed in Hungarian cinema before 1989? What are the occasions and circumstances under which the characters in the films sit down to eat? Do meals serve merely as the background to dialogues in scenes? When and how do food and drink become the “main course” on Hungarian screen? The social commentary of Hungarian cinema is greatly shaped by the dining scenes in films. The article explores the topic through a selection of classic films made between the two world wars, as well as by looking at the gastronomic depictions in post-war cinema. [ABSTRACT FROM AUTHOR]

The present study aims to depict the hegemony and the way cultural hegemony influences cultural issues in Wild Child film. Therefore, the main data sources were the script of The Wild Child by Nick Moore and the book which tells the contents of the film. To collect the data, the researcher used library research. The qualitative descriptive was used to explore the issues found in this study. Based on the study, it was found that there are some norms found in which the English hegemonies to the American girl of the main character in this film. Those are norms, language, and values. The study also showed that the behavior of the main character "Poppy" was influenced by the Americans. Based on the data result there are two (character, and attitudes) influenced of cultural Hegemony among the Americans and English in this film [ABSTRACT FROM AUTHOR]

The purpose of this study was to obtain a biodegradable film based on polyvinyl alcohol with reduced water vapor permeability. The hydrophobic character of the films was achieved by incorporating beeswax, vegetable bio-surfactant, citric acid as a cross-linking agent, and glycerol to provide elasticity, along with the application of thermal treatment. Water vapor permeability was determined gravimetrically. The results indicated that all films produced had lower water vapor permeability compared to unmodified or untreated polyvinyl alcohol films. The barrier to water vapor varied directly with the mass of beeswax used, and the homogeneous dispersion of beeswax in the polyvinyl alcohol matrix was essential for achieving an efficient hydrophobic film. The best performing-material exhibited a water vapor permeability 5.15 times lower than that of the neat polyvinyl alcohol and 15 times higher than that of polyethylene. Considering the fact that the water vapor barrier property of neat polyvinyl alcohol was 78 times lower than that of polyethylene, the combination of beeswax, citric acid, and vegetable bio-surfactant—along with thermal treatment—can be a viable solution to reduce the hygroscopicity of polyvinyl alcohol-based films. [ABSTRACT FROM AUTHOR]

In films, the Magic Negro is a stock character whose supernatural gifts promote the success of a White protagonist. A character with parallel traits found in a number of mystery series is the Magic Indian, who has supernatural connections and abilities unavailable to others. In his Walt Longmire mysteries, Craig Johnson develops a strong supernatural thread with the agency of Native American characters who can be considered Magic Indians. While Johnson's Magic Indians share similarities with Magic Negroes, they exhibit key differences in the way their spirituality is presented that make them more realistic characters serving an educational function. [ABSTRACT FROM AUTHOR]

This article aims to analyze the presence of the concepts of capitalism and alienation in Spirited Away (2001) as the film's characters are transformed into workers in a globalized world, thus intertwining a denunciation of consumerism. For this purpose, it was necessary to use the theoretical lenses of Literary Criticism to interpret the scenes and dialogues present in the film. Nevertheless, it was necessary to explore, according to the Marxist Current, the aspects focused on the unrestrained consumerism present in the work, emphasizing alienation and capitalism and highlighting how both are correlated within the feature film. In addition, within this work, it is possible to briefly discuss the theoretical assumptions of the Marxist Current in the essential concepts of capitalism and alienation, as well as to illustrate an alienated capitalist society in the spiritual world of the film. In order to validate these discussions, qualitative exploratory bibliographic research was carried out based on the studies of Suzuki (2009), Eagleton (2002), Tyson (2015). It is concluded that Spirited Away (2001) highlights several dangers of capitalism and alienation, namely, the devaluation of alienated creatures in the bathhouse, the fear of being alienated, and the capitalist society. [ABSTRACT FROM AUTHOR]

Copyright of Araucaria is the property of Araucaria-Revista Iberoamericana de Filosofia, Politica y Humanidades 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.)

A substantial number of Lebanese films feature characters who speak French. While the inclusion of these characters is often justified at the narrative level, in certain instances, their presence cannot be solely explained by the narrative and appears to be more attributable to the context of the production of these films, particularly due to the dependence of Lebanese cinema on French funding. Many filmmakers have connected the use of the French language to the conditions set by French funds. However, it is noteworthy that these funds seldom explicitly mandate the use of French. A closer examination of this phenomenon reveals an implicit set of guidelines imposed by French funders, facilitated through French diplomatic institutions, and a tendency among some Lebanese filmmakers to conform to these expectations. [ABSTRACT FROM AUTHOR]

This study closely compares David Lowery's film The Green Knight to his 2018 screenplay, detailing the many changes he made during two months of filming in 2019 and in post-production. These include changes due to location choices and budget, those regarding Lowery's use of literary and cinematic subtexts, those made to his main characters (both male and female), and structural modifications distorting the linearity of the storyline. The analysis reveals Lowery's organic filmmaking techniques, his changing priorities and how one's vision at the outset of such an endeavor does indeed seldom match its final form. (DT). [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

The article discusses how superheroes in films can serve as modern Christ figures, providing creative tools for preachers to connect biblical texts with contemporary culture. Using characters like Vision from "Avengers: Age of Ultron," sermons can illustrate theological concepts such as incarnation and salvation, drawing parallels between Vision's birth and purpose and the Logos in John's Gospel.

The article explores the various depictions of Jesus in films and how these portrayals raise questions about his true appearance, considering the numerous representations from historical artworks to modern adaptations. It highlights how films like "The Chosen" and classic movies such as "The Greatest Story Ever Told" and "The Last Temptation of Christ" interpret the life of Jesus in diverse ways, often reflecting contemporary cultural contexts.

This article examines the 2005 film adaptation of Dany Laferrière's 1997 collection La Chair du maître, entitled Vers le sud, directed by Laurent Cantet. In La Chair du maître, Laferrière writes short stories that demonstrate how sexuality can be a form of dominance and simultaneously a method of liberation in Haiti. In Cantet's film, we follow Legba, a sex worker in Haiti, and his relationship with two white women, an already decisive alteration from the short stories that inspired it. By comparing the film adaptation to the short stories that inspired it, I argue that Cantet's film drastically alters the source material and undermines the original intent of Laferrière's work. Cantet's film is insensitive to Laferrière's original intent because Cantet privileges the white characters over the Haitian characters and removes any nuance from the agency of Legba, and the responsibility the women have in his death. This conclusion is supported by Laferrière's republication of the collection as a novel, using the film's title, Vers le sud (2006). Instead of focusing on Legba, Laferrière re-establishes Fanfan, an entirely separate character, as the protagonist and he thus reclaims the title and the original intent of the stories. [ABSTRACT FROM AUTHOR]

Copyright of Werkstatt Geschichte (Transcript Verlag) is the property of Transcript Verlag 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 Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies 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 paper explores the character development in the movie Red Dragon (2002) in relation to the Deleuzian theory of becoming-animal, and paintings by William Blake. A character analysis is made on Francis Dolarhyde in light of the theory of becoming, and parallels are drawn between connectionism and relationality, apparent in both Blake’s paintings and the Deleuzian theory. It’s argued that the theory of becoming-animal resonates with the character development in the film, and the connectivity and contradictions of concepts in Blake’s paintings by which Dolarhyde’s character is inspired. In this context, Dolarhyde’s character is described in terms of a continuous, nonteleological process where he disrupts binaries between the man persona and the dragon alter ego, and is characterized by virtue of his becoming. [ABSTRACT FROM AUTHOR]

The current article outlines a theory for character re-identification across films and fictional works: that is, by which interpretive operations does a viewer, spotting a character in film-y, understands that it is the same character identified on the occasion of a prior film-x? While this seems to be a mundane activity, consideration of multiple examples discloses that such acts mobilize sophisticated and abstract concepts and inferences, requiring theoretical insight. Such insight comes by way of Julius Moravcsik's application of Aristotelian concepts to lexical theory. The alignment of the latter—lexical theory—to film interpretation raises deeper questions as to the link of cognition to language, whose implications for future film scholarship are acknowledged in the conclusion. [ABSTRACT FROM AUTHOR]

The task of production design is to create locations where cinematic events occur. Since the subjective experiences of the characters in the film are mainly observable externally, the entire film practice aims to express them through secondary means, for example by design and cinematography. The filmmaker can choose what she brings to the foreground from the character's experience and what aspects she emphasizes. In the case of production design, it is possible to express metaphorical correlations through the spatialization process of cinematic events while anticipating the embodied situatedness of the camera and the eventual film viewer. The notion of situated authorship is discussed through iconic design examples from Gone With the Wind and The Birds, which have historically shaped the concept of production design practice. In the case study referring to my work as a designer, I intend to evaluate the schemas used in the spatialization process in the context of Embodied Simulation Theory (EST) and Conceptual Metaphor Theory (CMT). Here, I propose the idea of a dynamic staging scenario that indicates how cinematic movement – especially the action of the scene and the movement of the camera onset – is considered in spatialization. With the discussion, I conduct a design analysis with which the properties of the space can be evaluated based on the concepts of image schema, primary metaphor, and conceptual metaphor. [ABSTRACT FROM AUTHOR]

The objective of this research is to identify direct and indirect apologizing speech acts in the utterances of the characters in the movie "Venom let there be carnage". The data source for this study was taken from a movie entitled "Venom let there be carnage" in which many apologizing speech acts are found in it. The method used is a qualitative method. The theory used to identify apologizing speech acts was put forward by Searle & Vanderveken (1985) while to identify the direct and indirect used by the characters in the film using the theory put forward by Yule (1996). The results of this research found 14 types of apologizing speech acts consisting of 12 direct uses and 2 indirect uses. [ABSTRACT FROM AUTHOR]

Mice are beloved children's film characters. By embodying the underdog, they not only entertain but also inspire us. This article discusses the evolution of heroic mice in children's films, thus analysing how mice have been represented as heroes and how heroic representation has changed in recent years. This article will address children's films with mice that are sidekicks, warriors or use their wit to outsmart others against all odds. An analysis would not be complete without also addressing the representation of rats – as heroes, villains or a mix of both. The article's findings will present three phases: first, mice as sidekicks only, but nevertheless courageous in their actions; second, mice as heroic role models, inherently good and fearless, and their counterparts, rats, as villains; and third, mice as warriors and knights, with children's films beginning to question the clear-cut characterization of mice as heroes and rats as villains, hereby negotiating a new understanding of heroism. The representation of heroic mice thus reflects changing morals and expectations and showcases how traditional concepts of heroism are challenged in children's films. [ABSTRACT FROM AUTHOR]

The reception of François Truffaut's 1975 film L'Histoire d'Adèle H., dealing with the obsession and descent into madness of the daughter of Victor Hugo, has recurrently focused on its critical engagement with Romantic melodrama, as well as its literary and 'romanesque' dimensions. This article argues that the term 'romanesque' has camouflaged the film's active engagement with both cinematic and literary Gothic heritage. This engagement is shown to be inextricably linked to dynamic tensions of paternal influence. Both Truffaut as director and Adèle Hugo as film character actively renegotiate the Father's artistic heritage of violent passions and dark metaphysical forces, with differing results. The article proposes a double analysis: (a) a close reading of the film's Gothic tropes, shedding light on Truffaut's intertextual dialogue with Hitchcock, his favourite 'Gothic' father and (b) an examination of the character Adèle H.'s intertextual performance, in which she contends with the powerful Gothico-Romantic myth embodied by the literary patriarch Victor Hugo. This will lead to extended insight into Truffaut's brand of filmic Gothic as a vehicle of haunted intensity and on his distinctive exploration of the torments of female subjectivity, haunting and neurosis. [ABSTRACT FROM AUTHOR]

This article focuses on methods by which editors shape character in editing. Given that editors' choices of shot, take, and timing augment and vary actors' performances and directors' instructions, and that these choices shape the audience perception of film characters, we ask: what components of editors' expertise are activated in shaping material to create characters that viewers can invest in emotionally? Editors' expertise is generally referred to as 'intuitive', which is a shorthand for knowledge and experience that informs decision making at a pre-conscious level. This article argues that 'intuitive' is not incorrect, however, drawing on the authors' extensive editing practice and building on existing editing theory as well as ideas from science and film studies, we seek more specific identification and articulation of editors' expertise. This article offers an original editing taxonomy in relation to editing character. The taxonomy includes explicit articulations of kinaesthetic empathy and implicit knowledge such as laws of physics, reflex reactions, and cultural conditioning. Awareness of these pervasive but often unrecognised forms of knowledge, we argue, can enhance editors' ability to develop multifaceted characters through editing, clarify discussions between collaborators, and even enhance understanding of the art of editing more generally. [ABSTRACT FROM AUTHOR]

This article examines the portrayal of Asian and Black characters in Sony/Marvel Studios' Spider-Man trilogy. We analyze Ned Leeds, Brad Davis, Liz Allan, and M.J. "Michelle Jones-Watson," as well as minor characters, through the lens of racial triangulation (Kim, 1999). We focus not only on traditional white/Asian/Black comparisons across racial groups, but also on sub-triangulations within groups, such as positioning Black women in comparison to other Black women or Black men, or Asian men to other Asian men or Asian women, along with comparisons to white representations. Despite the trilogy's diverse cast, Ned, Brad, Liz, and M.J. remain separated from and in opposition to one another, with their existence and purpose constructed around their relationship and/or relevance to Peter Parker (Spider-Man), the white main character. The trilogy furthermore employs long-standing stereotypes about people of Asian and Black descent to help maintain whiteness at the top of all triangulations. We argue for a greater need to push beyond surface representations of "diversity" to consider how media actually represent different groups. [ABSTRACT FROM AUTHOR]

The relationship between cinema and painting has long been considered a subject of interest. Pedro Almodóvar is a prominent and progressive filmmaker in new Spanish cinema. His movies are marked by a distinct style and an idiosyncratic aesthetic expression. Frequently, Almodóvar has acknowledged being influenced by various sources. Almodóvar should be counted among the filmmakers whose films have a strong connection to the art of painting. He is one of the directors whose works are fundamentally based on an aesthetic framework of painting. The use of paintings as part of the cinematic mise-en-scène and the recreation of famous paintings within the cinematographic frame are considered to be the primary relationships between Almodóvar's works and art. However, sometimes these connections transcend facile associations and require greater effort to sufficiently be comprehended. Almodóvar employs various techniques of reference for oeuvres from classical painters such as Diego Velázquez, and Titian; modern artists like Salvador Dalí, René Magritte, Edward Hopper, and Picasso in addition to even the abstract painters like Piet Mondrian and Mark Rothko. This feature places him among the directors exhibiting a unique knowledge of painting in their films. The present research conducts a qualitative analysis of paintings in Almodóvar's films. This study aims to examine painting in Almodóvar's cinema by posing the question of hHow Pedro Almodóvar's films have been influenced by painting. This developmental research utilizes a descriptive-analytical, comparative methodology and a theoretical framing approach to study the modes of cinematic allusion based on Gérard Genette's intertextuality theory and Linda Hutcheon's theory of parody. Case studies include the prominent works of this filmmaker from the 1980s. The findings indicate that the cinematographic frames in Almodóvar's films have been transcribed from painting in various ways. In the first case, the relationship between the cinematic frames and the paintings is a simple intertextual allusion, whereby the filmmaker, inspired by a painting, recreates it in the cinematic frame, known as tableaux vivant. At times, these allusions transcend a simple association and take on a metaphorical quality, forging a particular connection with the world of the film's characters. In some cases, the intertextual relationship leads to a multilayered connection that generates a new texture of allusion and trans-contextualizing occurs, a concept derived from the theoretical dimensions of Linda Hutcheon's parody, which is perceived as a significant feature of modern art. In some instances, the relationship between Almodóvar's cinematic frames and paintings follows an ironic inversion, whereby a form of allusion and imitation is observed but with a repetition that contains differences, possibly employed for purposes such as critique or recreation. In some cases, Almodóvar uses the frame as a painter's canvas, employing cinematic techniques to create scenes reminiscent of abstract paintings. [ABSTRACT FROM AUTHOR]

This article takes as its starting point a recurring complaint in the popular reception of horror movies: that the characters in them behave foolishly. I argue that such complaints fail to recognize that the horror genre exploits a fundamental tension in fiction, between the perspective on a fictional world offered to its audience and that available to its characters. This distinction is highlighted in horror, which often depicts characters with everyday expectations facing extraordinary threats. Horror characters are frequently taken by surprise, and even the better prepared can be thwarted by the malevolence of the generic world. The extent of characters' misfortunes can resemble deliberate persecution, self-consciously flaunting authorial manipulation. I draw on Todorov's notion of "pan-determinism" and suggest that a more sinister variant operates in horror. Occasionally, a character's experiences can help equip them to survive; I argue that this can be inflected politically in films where the malevolent horror world is placed alongside forms of real-life persecution and abuse. Critical attention to the world of horror, and how it is understood from both the outside and within, can clarify the connections between different theoretical understandings of the genre and bring out important but overlooked generic conventions. [ABSTRACT FROM AUTHOR]

This study focuses the representation of male characters in the films of contemporary male auteur directors in Turkey. Once Upon a Time in Anatolia (Zeki Demirkubuz, 2011), Underground (Demizkubuz, 2012), and Big World (Erdem, 2016) are explored using sociological film analysis. Unlike mainstream cinema, the protagonists in these directors' films do not demonstrate hegemonic masculinity; the supporting male characters that do demonstrate hegemonic masculinity category are not white Turks. Arguably, the male characters embody a new hybrid hegemonic masculinity that combines various masculinities to reproduce patriarchy. It can be stated that "Others" in these films are negatively affected. [ABSTRACT FROM AUTHOR]

Films serve to (re-)create a 'world' within the mind of the audience. Additionally, they introduce or reinforce stereotypes portrayed as a reality of the modern world through multiplexity and the strategic use of foreign languages, dialects, and non-native language use, among others. Various concepts of stereotypes can be explored in fiction feature films, especially as film characters are often based on different kinds of stereotypes. Audiovisual texts tend to operate as cultural constructs that reflect and convey certain ideologies within an industry that holds the power to marginalize or belittle voices. Multilingual films highlight the contrasts among and within cultures; hence, they can further exacerbate the marginalization and stereotyping of different cultures and nations, ultimately having damaging effects on society's perception of different stereotypes, such as race and gender groups, which is shown with the examples from a multilingual film. This article analyzes the marginalization and stereotypes in a Hollywoodian multilingual film through film analysis and critical theory. By doing so, this study aims to provide insight into the stereotypes that have been depicted, covering various clichés and stereotypes, including cultural, gender, political, and religious stereotypes. Furthermore, it seeks to dissect the societal consequences that arise from detrimental portrayals of stereotyping in a purposeful selection of an American multilingual film. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

To watch a person doing an activity has an impact on the viewer. In fact, the film industry hinges on viewers looking at characters doing all sorts of narrative activities. From previous works, we know that media and non-media professionals perceive differently audiovisuals with cuts. Media professionals present a lower eye-blink rate, a lower activity in frontal and central cortical areas, and a more organized functional brain connectivity when watching audiovisual cuts. Here, we aimed to determine how audiovisuals with no formal interruptions such as cuts were perceived by media and non-media professionals. Moreover, we wondered how motor actions of characters in films would have an impact on the brain activities of the two groups of observers. We presented a narrative with 24 motor actions in a one-shot movie in wide shot with no cuts to 40 participants. We recorded the electroencephalographic (EEG) activity of the participants and analyzed it for the periods corresponding to the 24 motor actions (24 actions × 40 participants = 960 potential trials). In accordance with collected results, we observed differences in the EEG activity of the left primary motor cortex. A spectral analysis of recorded EEG traces indicated the presence of significant differences in the beta band between the two groups after the onset of the motor activities, while no such differences were found in the alpha band. We concluded that media expertise is related with the beta band identified in the EEG activity of the left primary motor cortex and the observation of motor actions in videos. [ABSTRACT FROM AUTHOR]

Opera's specter has long haunted film and more recently, film haunts opera productions seeking to entice new audiences. Patrick Morganelli's opera Hercules vs. Vampires (2010) harnesses the tension between live and recorded media. In this production, singers deliver their lines in loose synchronization with the film's characters, dubbing over the original's visuals with operatic voices. By encouraging an attentive rather than absorptive mode of consumption, Hercules vs. Vampires restores to both opera and film a joy and effervescence made possible through the pungent postmodern incongruencies of the high art of opera and the popular Italian sword and sandal film. [ABSTRACT FROM AUTHOR]

Against the backdrop of increased attention to semiotic relations in audiovisual translation, this qualitative study examines the subtitling of characters and objects from verbal reference to visual information in the presenting and presuming systems in film. By comparatively analyzing the visual-verbal endophora, exophora, and homophora in the DVD and the YYeTs fansubbed Chinese subtitles of an English film Mission Impossible: Ghost Protocol, it is found that there is a stronger visual-verbal link in the DVD subtitle, in which the visual information functions to generalize unfamiliar world knowledge pertaining to uniquely presumed characters to meet target audiences half way, omit redundant verbal information concerning explicitly presumed characters, and explicitate indefinite lexical items relating to explicitly and implicitly presumed objects. A narrativefriendly subtitle is therefore produced featuring conciseness, high readability, and good comprehensibility. However, the visual-verbal link in the fansubbed subtitle is comparatively weak due to the predominantly employed literal translation in subtitling presented/presumed characters/objects, in which the visual information is detached from the verbal content, leaving viewers with redundant or unspecific verbal messages. Extra processing effort is therefore required for constructing film narratives. These findings elucidate the significance of visual-verbal reference in subtitling presented/presumed participants for the sake of film narratives. [ABSTRACT FROM AUTHOR]

Copyright of Letras (Lima) is the property of Letras, Facultad de Letras y Ciencias Humanas. Universidad Nacional Mayor De San Marcos 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 article interrogates the depiction of working‐class and subaltern characters in neoliberal US cinema. Deploying a Marxian class schema in a content analysis of 53 top‐grossing films released between 1980 and 2010, we find working‐class characters unexpectedly prominent. They appear in most films, lead in a plurality, and are far more often heroes than heavies. Yet the vast majority are white, male and US‐born while exhibiting near ubiquitous subordination to up‐class co‐leads, mainly professional‐managers. Most working‐class characters also die or exit their class by film's end, abdicating agency and leaving up‐class figures in charge. We argue this amounts to a metaframe of nostalgic resignation: a collective image mobilizing masculinity and Eurocentrism to justify a historic loss of working‐class power. In contrast to critical, disconnected or escapist models of mass media's relation to actual social inequality, we argue these findings support a reproductionist (Althusser 2014) or propagandist (Herman and Chomsky 2002) understanding of that dynamic enriched by Hall's "racially structured dominance" approach (1980). [ABSTRACT FROM AUTHOR]