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Copyright of Signa is the property of Editorial UNED 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.)

Against the backdrop of the dialogue between theology, cinema, and image culture more broadly, this article explores Paul Schrader's 2017 film First Reformed as an experiment in cinematic theology. His 1972 work Transcendental Style in Film: Ozu, Bresson, Dreyer outlines the contours of a cross-cultural, cross-religious model of spiritual cinema and remains an influential text within both film studies and theology. While much of his career as both a director and screenwriter has embraced a broad spectrum of themes, from the psychological pessimism of Taxi Driver (1976) to the deep Christology of The Last Temptation of Christ (1988), First Reformed sees Schrader return to his theory of a sacred cinema through the themes of spiritual crisis, ecological indifference, and the politicization of Christianity. Through a theological and hermeneutical reflection on the film, its visual and narrative grammar, and its influences, this article explores Schrader's cinema as model of divine intimacy that redeems in an indifferent world. [ABSTRACT FROM AUTHOR]

This paper gives an overview of the history of Zainichi Korean films from 1945 to the present and explores the historical environment and popular demands that drove the production of major works. After World War II, the Zainichi Korean community took on the challenge of film production for the first time on the strength of GHQ's favorable policies and cultural solidarity with the Japanese socialists. This challenge, which began with newsreels and documentary films, soon entered a long period of stagnation due to the political upheaval of the time, a conflict with GHQ, and deteriorating relations with the Japanese Communist Party. In the 1970s, Zainichi films gradually began to revive, centering on the documentary genre, thanks to Zainichi Korean directors who had learned production skills under progressive Japanese filmmakers. As the mini-theater boom in the 1980s created an environment in which small-scale, non-mainstream films could be distributed and consumed in Japan, Zainichi films gradually expanded their scope through the production of various drama films. At last, the Zainichi Korean film genre finally began to establish itself firmly in Japanese film history. In particular, after the 2000s when the Korean Wave (Hallyu) phenomenon became noticeable in Japan, female directors and South Korean directors emerged to capture minor and workaday issues from multifaceted perspectives, and the general public in Japan enthusiastically consumed their works. Zainichi Korean films continue to strive to embrace both social issues and mass appeal. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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.)

While the "auteur" theory rightfully positions the director as the main creative force behind a movie's specific style and content, it is undeniable that film is also a collaborative effort that requires the combined work of a team. While all the elements within that team are important, the cinematographerdirector of photography-is certainly a key collaborator in translating the director's vision to the screen. During the thirties and forties, John Ford worked with several cinematographers (often repeatedly) who all helped shape the visual style of the films they collaborated on. This article will address the way in which these collaborations, and mainly two key personalities-Gregg Toland and Bert Glennon-shaped and influenced Ford's films in different ways and how the technical innovations that Toland and Glennon experimented with, undergirded the visual aesthetic and stylistics that would lead to new approaches in the director's work. [ABSTRACT FROM AUTHOR]

Popular culture, especially cinema, tends to view the world of fashion from a distance, often in admiration but mixed with feelings of incomprehension, perplexion and even derision. The current article will analyse the films Pret-à-Porter (Altman 1994), Zoolander (Stiller 2001) and The Devil Wears Prada (Frankel 2006) as expressions of general approaches to the fashion industry in the comedy film genre. As high profile films, they embody a pattern of representation endemic to film comedy at the turn of the 1990s and 2000s and emphasize a frivolous, ironic attitude to the superficial and exploitative nature of the fashion industry, reflecting a wider sense of postmodernist cultural critique in American cinema of the shallowness of commercialism and pop culture (while, ironically, being part of precisely the same system as the target of its critique). By conducting narrative analysis of these films, we will show how they use stereotyping as a mechanism to satirize the fashion industry, creating superficial flashes of ridiculous behaviour and excessiveness, while they reinforce these approaches themselves through the use of genre and aesthetic conventions. In doing so, the films highlight the idea that fashion, as a form of popular culture, functions as an exemplary locus of cultural critique to satirize hyper-consumption and hyper-commercialism. As these films evoke wider questions about the concept of irony within and towards fashion, the chapter is a part of a larger project on the theme of fashion irony that aims at defining it as a field of academic study. [ABSTRACT FROM AUTHOR]

This article will suggest that the American sportswear style reflects the unique historical and cultural influences on American dress from the birth of the new democratic nation in the eighteenth century to the dominance of New York City's ready-to-wear industry in the 1950s. Focusing on the key decades of the 1930s and 1940s, this article will explore the marketing campaign of Dorothy Shaver, vice-president of the luxury retailer Lord & Taylor, who in 1932 coined the phrase 'the American Look' to promote American fashion designers' collections. The legacy of sportswear designer Claire McCardell, arguably the best known of the New York-based ready-to-wear designers will be examined. McCardell's combination of nostalgic American prairie style with the use of everyday workwear fabrics of cotton plaid, denim, wool and jersey created an unpretentious casual American style based on comfort, ease and flexibility, which is reflected today in the contemporary American ready-to-wear market. The article will maintain that the promotion of the American Look via photographic shoots, magazines, advertisements, visual merchandising, exhibition and film influenced the style and taste of dress that the female American body ought to 'fit into'. This style, it will be argued, encouraged the development of a cultural memory of American dress by establishing a material link between national identity and clothing. [ABSTRACT FROM AUTHOR]

Capitalism didn’t only change relations of production in postsocialist economies, but it changed, rather abruptly, the ways of communication between generations, which complicated the transition to a market economy. In this article I analyze Radu Jude’s Everyone in Our Family (2012), paying close attention to the way in which New Romanian Cinema translated these changes into film language and style. In the process I will also look at the way in which the heritage of socialism was negotiated by the postsocialist generation, and the way in which postsocialist adults dealt with the traditionalism and patriarchy embedded in child-parent relationships. [ABSTRACT FROM AUTHOR]

Copyright of Revue des Lettres Modernes is the property of Classiques Garnier 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 focuses on the rise of a nascent film movement in the United Arab Emirates (UAE) and its role in reflecting Emirati culture. Topics include the emergence of genres such as comedy and horror, the exploration of societal issues through film, and how the country's rapid development and the presence of expatriates shape the nation's identity in cinematic expressions.

In the preface to Raymond Chirat and Olivier Barrot's Les Excentriques du cinéma français, Barrot writes affectionately of the excentriques of French cinema: "Ce sont les seconds rôles, acteurs de complément, aussi indispensables à la puissance d'évocation des films que les stars. Membres actifs de la famille des comédiens, catalyseurs de notre complicité, ces 'excentriques' [...] sont nos amis". Located far from the centre, in terms of audience recognition and narrative status, these character actors, who worked consistently and across genres from 1929 to 1958, form an indispensable part of French cinema, adding in particular colour, mood and nuance to 1930s French cinema. This article focusses on one particular "excentrique", Raymond Aimos (1889–1944), showing how his vocal and performative style, his genre eclecticism and embrace of an "anti-stardom" register and his frequent on-screen positioning as the star's friend, confidant or comic side-kick exemplifies his marginal status in the domestic film industry of the period. [ABSTRACT FROM AUTHOR]

In the 2021 special issue of French Screen Studies, guest editor Maxime Bey-Rozet articulates how Horror Studies in French cinema remains an understudied field—but one that is nevertheless starting to gain traction. My article adds to this small but growing scholarship by bringing into the conversation a (sub-)genre not mentioned in the issue—the faux-documentaire. Trickery and fakery are used to imitate documentary evidence and style, in the margins between "truth" and "fiction". Yet, in imitating the documentary genre, the faux-documentaire here also imitates the Hollywood style of found footage films such as The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, 1999). To make this claim, this article considers two found footage faux-documentaires by French director Fabien Delage: Cold Ground (2017) and 3:15AM (2018, an anthology that Delage contributed to and starred in). [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.)

Copyright of Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) is the property of Dinasti Publisher 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 Imagofagia is the property of Imagofagia - AsAECA 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 Imagofagia is the property of Imagofagia - AsAECA 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.)

Dominant narratives of the Australian New Wave tend to frame the efflorescence of national filmmaking in the 1970s through the lens of Gough Whitlam's brand of cultural nationalism. The narrative usually runs as follows: state-funded films tended to favour a conservative, genteel and respectable aesthetic that came to be known as the "Australian Film Commission genre". This article uses Mark Fisher's concept of "popular modernism" to challenge this dominant account of the Australian New Wave first put forth by Susan Dermody and Elizabeth Jacka, outlining the ways in which social democracy and state funding provided the conditions that allowed filmmakers to produce radical films that were anti-nationalist in character. As we will argue, when national film production deviated from this configuration and became circumscribed by neoliberal restructuring and economic rationalism in the 1980s, the New Wave took on an increasingly nationalist impulse. The article will trace this trajectory through a narrative analysis of two films from lauded Australian director Peter Weir: The Cars That Ate Paris (1974) and Gallipoli (1981). [ABSTRACT FROM AUTHOR]

This essay articulates the global irony of Brian De Palma's Sisters (1972), an irony that the film constructs by means of its accumulation of ironic markers. The essay locates these markers in the film's allusions to Hitchcock and in the relationships between the film's narration and its excessive style. It begins by looking at previous attempts to describe the nature of irony on film and goes on to read closely the film's opening sequence, with its references to Alfred Hitchcock's Vertigo (1958) and its presentation of a television-show-within-a-film. A final section reflects upon the author's relationship to the irony of De Palma's films as well as the ideological charge of this irony. [ABSTRACT FROM AUTHOR]

Genre, defined as a "staged goal‐oriented social process" (Martin, 2009), has long stood as a key principle in second‐language writing instruction. This article presents the principles underpinning genre theory as it relates to the language curriculum and the five phases of genre‐based L2 writing pedagogy. This pedagogy provides the foundation for a case study in which students in an intermediate, fifth‐semester German class at a small liberal arts college received instruction in the film review genre. Student products written prior to classroom work with film reviews are compared with those written after students had gained an awareness and understanding of the film review genre, revealing the positive effects of genre‐based instruction on student writing. In light of the future impact of generative artificial intelligence (AI) on writing pedagogy, the final section addresses how ChatGPT and similar platforms can potentially enhance genre‐based pedagogies. The article suggests ways in which generative AI can be incorporated into each phase of genre‐based second language writing instruction. As technologies such as ChatGPT become established in language classrooms, it is clear that the writing process must share the stage with written products, both in instruction and assessments. [ABSTRACT FROM AUTHOR]

The term local genre may not be an established term for all people who study cinema and film critics, because genre is defined as a global category and is less attributed to a specific region or nation. However, this research considers it possible to use the term local genre with the following simple definition; local genres are subgenres or hybrid genres with features that are less common elsewhere. In many cases, by repeating some special features in works of a subgenre or hybrid genre in the films of a nation or region, and of course the presence of a significant number of works in that genre, these subgenres or hybrid genres will become local genres. For example, all local genres in Japanese cinema like Kaiju or Yakuza films are sub-genres or hybrid genres: Kaiju genre is a combination of features of two genres, sciencefiction and horror, and Yakuza film is one of the sub-genres of crime genre. Studying a wide range of local genres including the Martial Arts in Hong Kong, Spaghetti Western in Italy, Masala in India, Heimatfilm in Germany, Anime in Japan and Filmfarsi in Iran, proves that despite the diversity of generic elements in local genres, there is a consistent trend in the development of these genres which seems to be an influence of the national or cultural identity of that genre's region. With the temporary salience of national identity with factors such as war, colonialism, cultural domination and other elements that emphasize the concepts of "self" and "other", filmmakers are drawn to cultural heritage and are using it to represent a national identity in the content and structure of films, which in turn, has led to the formation of genres that have distinct characteristics compared to the dominant cinematic genres. The expression of national concerns in terms that can be understood by the general public has made these films extremely popular among audiences of that region, and over time, these genres have gained their audience inside and outside that particular geographical area, thus facilitating the development of a "national cinema". Filmmakers around the world can produce films that include their identity and culture by relying on the achievements of native genres inside and outside their country. The use of genre to express contemporary national concerns, along with examining the unique features of expression in classical literary and artistic works of each country, can play an important role in eliminating the common demarcation of popular and artistic cinema, and result in an increase in the social role of any particular genre. In this article, the main features of local genres and their differences are compared with the dominant genres of Hollywood cinema, reflecting upon the competitive nature of this genre in regards to the dominance of Hollywood cinema. The role of national identity in the formation of this genre will be analyzed, and finally, the influence of classical arts on the content, structure, style and iconography of this genre will be further explained. [ABSTRACT FROM AUTHOR]

The article "Midnight Cowboy by Jon Towlson" by Jon Towlson, published in the Canadian Journal of Film Studies, explores the film's significance as a transitional work in queer cinema. Towlson's personal perspective on the film's ambiguity and themes of friendship as a form of queer sociality are central to his analysis. The study delves into the adaptation of James Leo Herlihy's novel, the film's portrayal of New York's queer subcultures, and the critical reception by both straight and queer critics. Towlson's examination highlights the film's complexity and its exploration of intimacy and illegibility in relationships. [Extracted from the article]

The awareness of technological influence has grown, culminating in an increased appreciation for science fiction (sci-fi) movies. Positioned as an imaginative genre with a longstanding history in the film industry, sci-fi movies have witnessed substantial popularity. In the context of uninterrupted advancements in human science and innovation over recent years, numerous scientific and technological breakthroughs have reshaped societal norms. This transformative process not only enhances individuals' lives but also holds educational significance. This investigation sought to explore the potential correlation between the evolution of sci-fi film genres and the psychology of artificial intelligence (AI) environmental behavior. A novel aspect of this study is its interdisciplinary approach, amalgamating elements of film studies and environmental psychology. The examination of how sci-fi films both reflect and influence the societal perception of AI and its environmental ramifications contributes to a profound comprehension of the complex interaction within the realm of sci-fi, technology, and societal dynamics. The study employed a virtual scene construction method for sci-fi movies based on AI. Data were meticulously collected from a diverse cohort, comprising 1,000 movie enthusiasts and 260 individuals specifically inclined towards sci-fi films in China. Utilizing a combination of random sampling and snowball sampling techniques, questionnaires were employed to gather insights. Notably, the study's findings suggest a future trajectory where sci-fi films will seamlessly integrate AI-driven storytelling techniques. This integration is poised to create immersive cinematic experiences, actively engaging viewers in ethical and environmental dilemmas. [ABSTRACT FROM AUTHOR]

Documentaries have frequently captured journeys to places audiences might not have seen before. The first documentary film Nanook of the North (1922), often referred to as a travel film, took viewers to the Canadian Artic for the first time. In 1929, The Man with a Movie Camera revealed the rhythm of the Soviet cities through the Kino-Eye. Now the documentary film genre, the City Film is taking viewers on a virtual tour into new digital synthetic domains as they contain artificially generated images produced by GenAI. In response to this emergence of the ‘AI eye’, a computational vision of the world, the following attributes of AI as an asset, tool and collaborator shape the discussion of novel creative documentary processes that are emerging when Gen AI is integrated into computational non-fiction. This article explores a computational vision of the world in relation to the City Film documentary genre. [ABSTRACT FROM AUTHOR]

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata 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.)

Nationalism, an ideological concept that people of shared national identity adopt, is one of the most explored genres of the Hindi film industry. The theme of nationalism which once demanded a sacred and elevated treatment from cinema-makers has faced a comparatively light-hearted, ordinary, and relatable approach in contemporary times. Rather than confining the notion of nationalism within the nation's territory, such new-age movies depict how exiles and immigrants redefine the notion of nationalism. Replacing the exaggerated, parochial, and exclusive depictions of hyper-nationalism in early Hindi war movies with what Benedict Anderson calls ‘long-distance nationalism’, contemporary movies have the potential to expand the idea of the nation beyond its borders. Two such movies that depict characters redefining the notion of nationalism through their acts of transnationalism are Meghna Gulzar's Raazi and Raja Krishna Menon’s Airlift. Both the films refrain from engaging in the classical discourse of nationalism to reveal how dispersed immigrants contribute to the spirit of Indian nationalism through their acts of political participation. [ABSTRACT FROM AUTHOR]

While films are popular as teaching tools in social work education, to critique social inequalities, horror films have not been the conventional genre. This teaching note describes the creation and deployment of a course that uses horror films to address social justice issues as part of different critical reflection, which is linked to practice wisdom. The author describes the structure of course, readings, activities, and reflections for expanding the use of this genre and well as limitations. The use of horror films can be a useful and salient tool to engage students to draw upon social constructions of what it means to be fearful or scared, and teach about infractions to human nature from a social work perspective. Broad implications are discussed, including other genres and the availability of resources to replicate this course in other settings. [ABSTRACT FROM AUTHOR]

Our case study of Saw IV examines the possibility of using horror as a genre, a vehicle for teaching ethics, and its use in street-level bureaucrat (SLB) decision-making. Specifically, this film highlights the inherent violence of the police state, which illuminates the limits of ethical decision-making in constrained contexts. We propose using horror as a film genre to teach students about the complexity of personal, interpersonal, and professional ethics, bureaucratic discretion, and the impact of these decisions in real-world situations. We provide a brief analysis of the film through the lens of ethical dilemmas in a violent police state and the impact of this violence on governance. We conclude with recommendations for using Saw IV and horror more broadly as pedagogical tools in public administration and political science education. [ABSTRACT FROM AUTHOR]

This article examines how Han Taiwanese myths and urban legends have been associated with the environment and native fauna in the best-selling popular non-fiction publication Monstrous Taiwan and the hit horror film The Tag-Along. This article also looks at how these works can be considered within the framework of settler colonial studies in East Asia. Both works are interested in intervening in popular culture and genre cinema while reframing the horror or supernatural genre as particularly Taiwanese, drawing on urban legends and traditional folk tales. However, the creators of these works persistently characterise Han Taiwanese legends as interchangeable with the native fauna of Taiwan. This move positions Han Taiwanese as inheritors of the natural environment of Taiwan while minimising or, in some cases, tokenising the presence of indigenous Taiwanese people. [ABSTRACT FROM AUTHOR]

"IImmaculate" is a religious horror film directed by Michael Mohan, starring Sydney Sweeney as Cecilia, a young American nun who becomes pregnant despite remaining a virgin. The film explores themes of faith, fear, and autonomy over one's body, resonating with contemporary social anxieties surrounding pregnancy. While the film's performances are compelling, its visual style is criticized for lacking the vibrant aesthetics of similar horror films like "Suspiria." Overall, "Immaculate" is deemed less interesting and successful compared to other films in the genre, but may appeal to fans of Sydney Sweeney or those interested in her acting career. [Extracted from the article]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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.)

Mircea Eliade (1907-1986) is a historian of religions and a novelist with a legendary multilingual and multicultural formation. He is one of the most distinguished philosophers of the 20th century and a great humanist figure. His theoretical books and literary works are still widely read and discussed worldwide. Youth Without Youth is a slightly autobiographical novella of Eliade, written in 1976 and it’s also a Dr. Faust's story variation. Francis Ford Coppola adapted to cinema this novella in 2007 and it is an exceptional example of the multilingual film genre. The novel and also movie protagonist, Dominic Matei, an elderly professor of Latin and Italian from Piatra Neamț is struck by lightning on Easter night of 1938 in Bucharest before World War II and miraculously regains eternal youth, physically and mentally. Dominic Matei is a polymath and “an always young witness” of the 20th-century world and Romanian History. In this study, the film Youth Without Youth will be analyzed using a descriptive method, focusing especially on Eliade’s humanism, his terminology, and Coppola's postmodern interpretation. [ABSTRACT FROM AUTHOR]

Horror as a genre has a significant effect on the audience, not only through simulating fear and tension, but also through its influence on various aspects in the cultural and artistic sphere. From ancient myths and legends to contemporary films and literary works, horror as a genre attracts attention for its ability to explore man's (deepest) fears and phobias. In a cultural context, the phenomenon of fear, theorists managed to pierce into human psychology and insert it into the social dynamics of society. Through various aspects of the horror genre, with a particular emphasis on the film horror genre, such as: the script, characters, scenery, costumes and music, the authors manipulate the emotions of the audience and challenge them to think about these topics. In addition to mainstream horror narratives, an intriguing aspect of the genre lies in its connection to the folklore tradition, where tales of the supernatural and fantastic are passed down orally through the generations. The subgenre of horror, that is, the folk horror draws inspiration from these motifs of the fantastic, blending elements of myth and legend to create narratives that blur the lines between reality and fiction. Rooted in the tradition of fantasy, a literary genre that combines elements of the supernatural through realistic settings and characters, folkloric horror stories often evoke a sense of eerie familiarity because they are rooted in the primal fears of collective memory. In this paper, the effect of the so-called folklore or folk horror genre in the cultural-artistic context is discussed. In doing so, analyzing its impact on audiences and society and examining how authors use horror to communicate with different segments of the human psyche and how that communication impacts our beliefs. With this research, through examples, we will try to understand why horror is such a potent and influential genre in the contemporary cultural scene. By "dissecting" the various elements – from narrative constructs and character archetypes to visual aesthetics and thematic motifs – the aim is to uncover the complex ways in which horror resonates with audiences and shapes the cultural-artistic discourse of fear. [ABSTRACT FROM AUTHOR]

The post-New Wave films and trajectories of the key British New Wave directors remain under-analysed terrain, both in terms of their potential relevance for interrogating how we understand the British New Wave itself and for the terms in which we might conceptualise a 'Long' New Wave. This article departs from persisting auteurist approaches to consider the post-New Wave oeuvres and careers of these directors collectively, in terms which foreground the importance of collaborations and networks rather than individual authorship and seek to decentre, denaturalise and potentially dislodge their pre-eminent association with specifically Northern, British, social realism and its presumed legacies. I argue for the importance of a cluster of less-analysed areas of intersection and development which emerge across the eclectic film-making careers of Tony Richardson and John Schlesinger (and, to a lesser extent, Karel Reisz) in the immediate post-New Wave decade from the 1963 success of Richardson's Tom Jones to the early 1970s. My discussion pivots on two commonalities: during this time, all three directors contributed significantly and plurally to innovations and advances in genre and representation across two areas distinct from British Northern working-class realism: historical/costume film genres, and queer representation. An approach which centres the (broadly defined) queer elements in these directors' post-New Wave oeuvres – intersecting at times with their equally undervalued contribution to 'pre-heritage' period cinema – reveals the 'Long' New Wave as substantially a cinema of adaptation, collaboration and queerness which encompassed important, near-forgotten, international projects as well as modernist influences and, in Schlesinger's Sunday Bloody Sunday, a significant advance in realist queer representation. [ABSTRACT FROM AUTHOR]

The article analyzes Russian etiquette expressions (greetings, invitations, consents, apologies, thanks, etc.) used in Russian television series of recent decades. For the first time the factual material of three films is considered in detail: “Liquidation” (2007), “Alexander Garden” (2005) and “Black Wolves” (2017). It is shown that screenwriters and directors allow the use of modern (latest) lexical units in films showing the history of the Soviet Union in the 1920s–1950s. These are expressions like Проехали! and idioms like Интересное кино! Such an anachronism is explained, in particular, by the genre properties of films: they combine the features of action films, detective stories and melodramas. Although these facts are a violation of historical reality, they can be justified by the desire to bring the situations of recent history closer to the modern viewer. [ABSTRACT FROM AUTHOR]

Shin Films is known as the largest film studio ever operated in South Korea. Shin Films was a symbolic landmark of South Korean cinema's so-called "Golden Age." Shin Sang-ok, the founder and de facto owner of Shin Films, aspired to build a Hollywood-style film studio and catch up with the current filming technologies of the West. Under his direction, Shin Films produced 238 films between 1952 and 1975. The studio even expanded its market to Southeast Asia, where it actively co-produced and exported many of its films. Shin Films, however, was liquidated by decree of the Park Chung Hee government in 1975 due to the regime's ever-changing film regulations. However, instead of focusing on the state's oppressive intervention in the film industry, this article argues that multiple factors contributed to the rise and demise of the studio. Shin Films was not just a victim of the autocratic government. Rather, the studio engaged with the Park regime while negotiating with the authorities. And Shin Films was the most successful beneficiary of the authoritarian state's film policy. This study demonstrates that the fall of Shin Films was more attributed to the studio leaders' mismanagement, a lack of talent pool, fluctuating market conditions, and regional film studios' collaboration and competition. Using archival materials, in-person interviews, newspaper and magazine articles, and available film scripts, this article examines the studio's business structure, management system, human factors, dominant genres, distribution and exhibition subsidiaries, and imports and exports business, which together constitute Shin Film's mode of production, [ABSTRACT FROM AUTHOR]

The article offers information on the New York Film Festival's Convergence program and its exploration of interactive storytelling, focusing on the virtual-reality film "Mule" and its immersive but ultimately disappointing experience. Topics include the potential of interactive media to merge media and subjectivity, the limitations of current interactive storytelling, and Marina Hassapopoulou's book "Interactive Cinema: The Ambiguous Ethics of Media Participation."

The article offers information on the Rotterdam International Film Festival (IFFR) and its focus on new discoveries and avant-garde cinema under the direction of Vanja Kaludjercic and Clare Stewart. Topics include the festival's commitment to showcasing innovative films from around the world, its emphasis on animation and genre films, and the diverse program offered across its various sections.

The study aimed to explore the peculiarities of audiovisual text translation into Ukrainian, with a focus on dubbing, and to determine the role of cross-linguistic and cross-cultural differences in audiovisual translation (herein - AVT) didactics. The research used a comparative analysis of the biographical drama "The Queen" (2006) and its dubbed version in Ukrainian to identify essential translation features. The study found that AVT involves the translator's cognitive processing of textual matter, requiring linguistic competence in two languages and acquiring strategies linked to semantic analysis and synthesis. The study demonstrated that structural, semantic, and stylistic features are specific to the film genre and dictate the choice of translation transformations, which include contextual and synonymic substitutions, omission, amplification, permutation, antonymous, and descriptive translation. The comparative analysis of dubbed dialogues in "The Queen" (2006) can help students learn different translation techniques, improve their language skills, understand cultural differences, and identify improvement areas. The research emphasizes the need for additional investigation to provide better-quality Ukrainian subtitles and dubbed film versions. [ABSTRACT FROM AUTHOR]

Building on Paul Schrader's thesis in Transcendental Style in Film that immanence and transcendence clash, this article explores a departure from this binary in Jim Jarmusch's 2016 film, Paterson. Although Paterson follows the formula of transcendental cinema, it lacks Schrader's prerequisite "Decisive Moments" for transcendence. I contend that films can evoke transcendence without distinct release moments, as exemplified by Paterson. To support this, Paterson is contrasted with Yasujiro Ozu's 1953 masterpiece, Tokyo Story, identified by Schrader as quintessentially transcendental and a key influence on Jarmusch. Introducing the concept of "immanent transcendence" to describe Paterson's unique position, I argue that transcendence and immanence can coexist. I challenge traditional notions of transcendental cinema, shedding light on cinematic experiences that bridge immanence and transcendence. [ABSTRACT FROM AUTHOR]

The horror franchise [Rec] (2007-2014) is one of the most remarkable accomplishments in 21st century Spanish cinema. While banking on transnational modes of address such as the 'found footage' aesthetics and the imperfect look of digital technology, these films also build upon existing traditions within Spanish cinema and television. At the same, from an financial standpoint, it is the most successful Spanish franchise ever in the international arena while obtaining sizeable box-office receipts in the domestic market. This article analyzes how the [Rec] saga deploys a variety of discourses to appeal to horror aficionados while utilizing popular cultural artifacts to engage national audiences. Firstly, it situates [Rec] within the history of recent Spanish cinema, scrutinizing the generic hybridity at the core of several post-1990 national film products to ultimately study how this interplay will turn central in the constant re-articulation of the franchise. Secondly, it positions [Rec] within the transnational rise of the 'found footage' horror subgenre, contextualizing it by analyzing other significant efforts such as The Blair Witch Project. Thirdly, it explores this transnational dimension through a detailed analysis of the different films's marketing campaigns and how they relate to other products like Quarantine (2008), US remake of the first Spanish film. In this regard, it approaches how [Rec] conceptualizes film spectators as Internet, socially networked, users who participate in diverse, complementary, discourses across multiple online platforms. [ABSTRACT FROM AUTHOR]

This article attempts to bring to light the process of identification among diasporic Moroccan-French subjects through analysing Souad El Bouhati's debut feature film Française (French Girl, 2008). With a postcolonially-inflected concern, I shall delve into how the film defines identity as an entity that has to do with becoming, not with being. Born and raised in France, Sofia, the protagonist, knows nothing about Morocco other than being her parents' home country. As she has the feeling of being more French than Moroccan, she keeps identifying with France; that is why she struggles to stay and, later on, return there. Focusing on the heroine's journey, French Girl highlights how her identification shifts over time from being French to becoming Moroccan. Rejecting to be involuntarily moved to her parents' homeland at the narrative's very beginning, Sofia ends up preferring of her own free will settling in Morocco to returning to metropolitan France. Yet, she has not altogether got rid of her Frenchness. Neither purely French nor purely Moroccan, Sofia, therefore, exemplifies the hybrid state mostly characterising today's Franco-Moroccan citizens. [ABSTRACT FROM AUTHOR]

The international influence of the Western cinematographic genre is indubitable. In this genre, the West is portrayed as a space in which conflicting forces cohabit: the whites vs the natives, the East vs the West, and, in sum, good vs evil. With its re-emergence in recent decades, both inside the United States and outside its borders, this space is being re-described as a more permeable, fluid one, in which different communities cohabit and diverse movements occur. Mateo Gil's Blackthorn (2011) provides an example of the bridging essence of some contemporary Westerns. In this new representational context, this essay aims to show how Gil's Western is inter-national, gender- and age-balanced, and multilingual and, thus, may be regarded as a good example of the revision and rebirth of the Western genre. [ABSTRACT FROM AUTHOR]

The year 2022 saw three Scandinavian films – Loving Adults, Black Crab and Troll – place highly on Netflix's lists of the most popular non-English language films on the service globally. These were led by Troll, a Norwegian feature that was fully financed by Netflix itself and branded as an 'original' film, which went on to become the most popular non-English language film ever on the platform. Using the popularity of these films and other Nordic titles on the world's leading subscription video-on-demand (SVoD) platform as a point of departure, this article investigates the changing industrial landscape for film production and distribution in the region in light of the influence that streaming platforms are having therein. The focus is on a detailed case study of the integrated studio SF Studios, which produced two of these three landmark films as well as numerous others that were released as Netflix original movies between 2020 and 2023. In addition to illuminating the business and creative practices of both SF and Netflix, the article argues that deals such as these are fomenting greater artistic diversity in Scandinavia by opening up distribution pathways and production resources for popular genre films from the region. [ABSTRACT FROM AUTHOR]

The article analyzes the role of the female monster in contemporary horror cinema, highlighting how new filmmakers have transformed the representation of women in this genre. It addresses the empowerment of angry women through different archetypes of female monsters, such as non-human women, undead, witches, and monstrous mothers. The author, Itxaso del Castillo, defends a feminist perspective in horror cinema and recognizes the work of filmmakers who are revolutionizing the genre. [Extracted from the article]

Susan Kollin's book "Thelma and Louise" reconsiders the 1991 film as a Western, focusing on the female protagonists' liberation from patriarchy. Kollin analyzes the film's use of Western genre conventions to subvert traditional male-centered narratives. While celebrating the film's feminist themes, Kollin also acknowledges its shortcomings in representing characters of color. The book positions "Thelma and Louise" as a landmark feminist Western that has influenced subsequent films exploring themes of race, nation, and power. [Extracted from the article]

"What Film Is Good For: On the Values of Spectatorship" is a collection of chapters edited by Julian Hanich and Martin P. Rossouw that explores the question of what film viewing is good for. The anthology features diverse responses from scholars, filmmakers, and critics, advocating for film studies to consider ethical aspects. Contributors discuss topics such as climate change, empathy, and the impact of global concerns on spectatorship, offering varied perspectives on the value of film. The volume presents a range of viewpoints on the ethical implications of film, inviting readers to engage with the complexities of cinematic spectatorship. [Extracted from the article]