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Although the boundaries of inclusivity in film stretch every year, there are still many walls to break through. For nonbinary youth, there is little to no representation in media, whether it be mainstream or queer focused. In recent studies conducted by psychologists around the world on the growing, minoritized gender, they found a prevalent need for media representation to aid in nonbinary youth's mental health and access to resources. While major media industries may be slow to increase the diversity of sexuality and gender representation, the expansion of tropes, plots, and themes helps a more diverse audience resonate with a film and its characters. By conducting a textual analysis of Enola Holmes, I construct a theoretical framework of queer relational ambiguity to demonstrate how new coming-of-age films for a wider audience are more inclusive of queer viewers while not having an overtly queer cast. Although not anywhere close to the representation needed, these shifts in media resonate with queer communities in a way that can provide needed support. [ABSTRACT FROM AUTHOR]

The article presents findings from both quantitative and qualitative research regarding the resolution of cross- and multi-modal anaphoric references to objects in two Sherlock Holmes movies directed by Guy Ritchie. The goal is to illustrate how words referring to objects are linked to images depicting the objects as well as sounds produced by the objects to constitute coreferential chains with respect to the viewers' perception. The theoretical assumptions draw concepts primarily from cognitive linguistics (such as mental spaces, compression, frame-metonymic relations), with additional notions adopted from (verbal) semantics, pragmatics, visual semantics, and film studies. A cognitive account of regular and associative cross- and multimodal anaphora is suggested, along with a model for the representation of cross- and multi-modal coreferential chains for future manual and automated annotation tools. Overall, the work emphasizes the importance of considering both verbal and nonverbal cues in understanding anaphoric references in cinematic contexts by highlighting the cognitive processes involved while viewers integrate information from different modes. [ABSTRACT FROM AUTHOR]

The article focuses on applying psychoanalytic theories to David Cronenberg's films through a clinical methodology. Topics include the challenges and potential of psychoanalytic approaches in film studies, the ethical and theoretical concerns surrounding psychoanalysis without direct consent, and the use of recurring metaphors and patterns in Cronenberg's public expressions to gain deeper insights into his work.

The article discusses a dialogue between Siao Yuong Fong (Rong) and Jian Lin, who are Co-Editors of Cultural Commons and Book Reviews at the European Journal of Cultural Studies. They share their personal journeys with Cultural Studies and their visions for the Cultural Commons section. The editors emphasize inclusivity, Global South perspectives, and the importance of decolonizing knowledge production in cultural studies. They aim to create a space for diverse voices and alternative epistemological paradigms, challenging traditional academic boundaries and fostering global conversations. [Extracted from the article]

The literary adaptation into cinematic terms has become a ubiquitous phenomenon. In such a way, it brings about the intersection of the literary and the cine-text working towards assessing the intertextual resonances between the two. However, narratives can be subjected to several omissions and slippages which the artist intentionally devises. Formulating such gaps in between, the artist attempts to engage the attention of the readers/viewers and invites them to mend the fissures complying with the interpretive scope offered in the text. Venturing in a similar direction, the paper comparatively evaluates Bapsi Sidhwa's Ice-Candy-Man with Deepa Mehta's Earth. In doing so, it analyses the art of gap management as adopted and adapted from the literary precursor to the cinematic successor. To this end, it problematizes the creative approaches of the two artists involved. To put it differently, the perusal determines to what extent the writer and the director converge and diverge in the treatment of narratorial fissures by adopting the methodological tools of inclusion, omission and modification in the management of gaps in their respective renderings. Interestingly, such a perspective complicates the discourse around adaptation studies and offers a new insight into the process of adaptation. [ABSTRACT FROM AUTHOR]

The fourth international conference of the Journal of Italian Cinema & Media Studies (JICMS) was held at The American University of Rome on 13–15 June 2024. The co-organizers were Flavia Laviosa (Wellesley College) and Catherine Ramsey-Portolano (The American University of Rome) and this year's title was Re-examining the Past and Envisioning the Future of Italian Cinema and Media. Participants from five continents and various countries, with diverse academic backgrounds, including film studies, Italian studies, media studies, social sciences and industry practice, came together for three days of stimulating discussions and productive exchanges of ideas and perspectives. The keynote address 'Non-fiction filmmaking in contemporary Italy' was delivered by Áine O'Healy from Loyola Marymount University. The conference was further enriched by the presence of directors Paolo Benvenuti, Monica Guerritore and Liliana Cavani. This report provides an overview of the conference. [ABSTRACT FROM AUTHOR]

In 2006, Canadian director Guy Maddin premiered a semi-autobiographical film at TIFF called Brand Upon the Brain!, which featured live Foley sound and orchestral accompaniment. Adopting the aesthetics of silent film, Maddin presents a warped version of his childhood traumas, filtered through the funhouse mirror of Sigmund Freud, Fritz Lang and the Brothers Grimm. Further emphasizing the discordances of recollection and actual event, Maddin's theatrical presentation divorces sound from screen, reimagining the film's soundscape (and by extension, that of his childhood) as an exaggerated live reproduction, mirroring the very process of replaying a memory. Two years after this film premiered, Maddin made a faux-documentary about the original Foley process called Footsteps (2008), which centres upon the sound artists themselves. Employing the same aesthetic conventions, this short film depicts the craft of Foley as a surreal science of the subconscious, an act of symbolic projection carried out by strange figures in lab coats. If watching and listening to these films is to be momentarily trapped inside 'the fevered brain of Guy Maddin', as one critic puts it, then this article sets out to interrogate the role of the sound artist in enabling and enacting such fantasies within the director's singular psychodramas. Maddin's foregrounding of the Foley artist is, I argue, analogous to the exhumation and display of unconscious material. [ABSTRACT FROM AUTHOR]

Foley sound effects – those sounds that are created in post-production through live performance and then added to the sound mix of films, television, video games and animation – are ubiquitous. But effective Foley should not be heard. It is one of those creative labours in the making of a film that, to be considered successful, must erase itself. While film studies has begun to redress theory and practice's bias towards the visual, film sound studies has yet to sufficiently acknowledge this hidden body in the sound process and fully reckon with the individual contribution made by the Foley artist to cinematic expression and cinema's capacity to represent the world in motion and the exertion of bodies on-screen. To the extent we consider sound cinematic, what does the Foley artist contribute when they supplement images of a rock, a chair, a phone with sound or pay attention to the way paper brushes wood, metal rattles against metal, sand pushes back against a finger? This introduction establishes how refocusing attention to Foley sound extends our understanding of cinema as a medium, as well as addressing the current cultural and scholarly 'visibility' of Foley sound. It outlines the way the issue seeks to open up new theoretical perspectives on Foley sound and explore its interdisciplinary potential for theories of the soundtrack and film theory more broadly. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy 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.)

Women-led revenge films are often lauded for feminist narratives and cathartic reversals of heteropatriarchal hegemony. However, many texts reify femmephobic systems of gender and power by construing violence and revenge as masculine, thus requiring heroines to adopt masculine tactics and weapons. Promising Young Woman (2020) breaks with genre conventions by constructing a world and protagonist that exemplify femme norms, values, and covert ways of operating. Drawing on queer and femme theoretical frameworks, I situate Promising Young Woman in a femme enclave of psychological thriller, positing it as an example of femme worldbuilding that explores how femme subjects assert power over their narratives. [ABSTRACT FROM AUTHOR]

This article examines both industry-created and viewer-created paratexts of Disney’s new Mulan (2020) to shed light on the localization of industry-created paratexts for Chinese audiences, the reception of the film, and the tensions between industry-created and viewer-created paratexts in China. It reveals that Disney has localized the poster, trailers and promos of Mulan for Chinese audiences by highlighting the film’s all-star cast and creating an illusion of its faithfulness to The Ballad of Mulan, and the extolled virtues of filial piety and patriotism cherished in Chinese culture. The viewer-created paratext, danmu, of Mulan challenges the industry-created paratexts and demonstrates unfavorable reception of the film in China. It criticizes the film for its inauthenticity to The Ballad of Mulan, cultural appropriation, promotion of American values to meet the needs of English-speaking audiences for exoticness and cultural otherness. By investigating danmu as a viewer-created paratext, the present study has enriched paratextual research and reception studies in translation, media and film studies in the digital age. [ABSTRACT FROM AUTHOR]

Some of the most crucial debates surrounding Islamic legitimacy and cinema rotate around the question of the permissible (ḥalāl) and prohibited (ḥarām) in Islamic law and how these function for Muslim theology and politics. Emerging from these debates, halal cinema has been one of the recent critical interventions in the field of Indian and Islamic cinema. Rather than making cinema Islamic from an ideological position, the new halal experiments with the visual language of cinema without compromising the popular dimensions of its viewership. This article looks at the politics of halal cinema within the context of the state of Kerala in South India and argues that the space of halal cinema shows the aspirations and negotiations of the Muslim community in Kerala. Halal cinema thus becomes an immanent critique of Islamic cinema by destabilizing the dominant practice that connects the relationship between Islam and cinema. [ABSTRACT FROM AUTHOR]

India has long been known for its film industry and remains by far the largest film producer in the world, surpassing other film-producing superpowers like the US and China. A major factor in India’s dominance in the global media landscape is the outsourcing of film production, especially within Europe. Although there are studies trying to explain the context and mechanisms of foreign settings being incorporated into Indian filmmaking, this knowledge remains scattered and unsystematic. The objective of this paper is to comprehensively examine the evolutionary, spatial, and collaborative dynamics of Indian filmmaking in Europe by analysing statistical data from IMDb as the world’s largest film database. Our findings show that Indian filmmakers appeared relatively infrequently in Europe until the mid-1990s. The British Isles and Western Europe, with London and the Swiss Alps as the main centres, became the first and most popular destinations for outsourcing Indian films. However, this trend has changed in the last two decades, with the focus shifting to other areas in Southern, Central, Eastern, and Northern Europe as well in recent decades. The initial wave of Bollywood productions has gradually been followed by other regional cinematographies. The increasing presence of Indian film shooting in Europe has also led to growing co-production between filmmakers on both (sub)continents. The paper provides a solid basis for further exploration of socio-economic linkages between India and Europe, especially in terms of job creation, local economic development, tourism, and cultural exchange. [ABSTRACT FROM AUTHOR]

Although the experimental found footage film recycles Hollywood films so that the outcome may radically differ from the original story, there are no accounts on how it adapts images from mainstream cinema to represent human–animal relations, linking to gender and masculinity. To fill this gap, I discuss how experimental film Horsey recycles footage from three Hollywood productions— Reflections in a Golden Eye , The Swimmer , and The Black Stallion —to construct a new narrative, which displays a very close conformity to the prior text, shifting the focus to human–horse interactions. Raising questions about the traditional understanding, scope, and limits of adaptation in avant-garde film studies, Horsey fits in with the broader tradition of cinematic recycling of mainstream cinema as it exemplifies intertextuality as a direct form of quotation, taking quotation as appropriation through cuts, detournement, compilation and free association. Particularly, following Guy Barefoot's understanding of adaptation as an intertextual form of recycling, Horsey is distinctive in its sole use of found footage from the three Hollywood films as it fully acknowledges the recycled material, strongly alluding to the original stories, and simultaneously re-processes them through a collage of pre-used footage, slow motion, washed-out colours, and an altered soundtrack. Despite appearing to merely extract images and sounds from Reflections , The Swimmer , and The Black Stallion , Horsey emerges as a productive site for recycling Hollywood cinema, placing it into new contexts and audio-visual configurations and offering more complex, engaging ways of looking at how humans connect to horses. [ABSTRACT FROM AUTHOR]

This article contributes to the scholarship on Japanese director Miike Takashi, who has gained increasing international recognition over the past two decades. Through a case study of Miike's manga-inspired live-action film, Crows Zero (2007), I delve into specific aspects of the film's settings, especially poetry and linguistic sings, to explore authorship from a comparative perspective and its manifestation in transmedia adaptation. This analysis draws upon Thomas Leitch's concept of adaptive authorship and rethinks the historical dichotomy between the auteur and the metteur-en-scène , as originally delineated by François Truffaut. By arguing that Miike's role in the film is neither a mere adapter lacking creativity nor a consistent artist, and by highlighting instances of directorial authorship in the film's nuanced details, I question the tendency in film studies that adaptive authorship is often overshadowed by, and eventually integrated into, auteurship to the point where it can only be examined within broader auteurist analyses. Thus, this case study underscores the advantages of an adapter-based approach over an auteurist one, suggesting that moving beyond the doctrines of consistency and coherence may facilitate the identification of authorship from different perspectives. [ABSTRACT FROM AUTHOR]

This study borrows elements of film text in the field of film studies to develop the potential of data analysis using AI algorithms, while aiming to explore the emotional and content relevances between the two narrative mediums in film, bullet screens and subtitles, as well as the narrative effect variations that they bring about. The film sample Forever Young was analyzed by deep learning, data analysis, and knowledge discovery algorithms and tools. The BERT model was used to quantify the intensity of emotions and conduct fine-grained emotional classification of film characters. Emotion curves are plotted based on time series data. Thematic words are extracted by the LDA algorithm, and text similarity is computed using Word2Vec. The study found differences in emotional expression between bullet screens and subtitles, and they also exhibit strong emotional and content relevances. Yet, this correlation is not only influenced by temporal deviation factors but also by specific emotional types, different stages of story development, and the collective emotions of online views. The conclusion suggests that the effective collection of plot metronomes in film narratives helps reveal crucial plot nodes and emotional trends in films that cause obvious emotional changes, and placing them appropriately is fundamental for continuously attracting and retaining viewers' attention. The interaction between bullet comments and subtitles is not only about emotional expression but also enhances the effectiveness of the film narrative. Overall, this study demonstrates the importance of database logic and technology in understanding and expressing film emotions and meanings, and providing new ideas and methods for enhancing film narrative effectiveness. [ABSTRACT FROM AUTHOR]

In October 188's "Visceral Economies, Queer Dialectics: Eisenstein Meets Bataille," Elena Vogman argues that there is an "affinity" between Sergei Eisenstein's and Georges Bataille's views, thereby contesting Annette Michelson's verdict that any similarities between them are "superficial." This article contends that Michelson is right, and that Vogman provides no evidence of an affinity between Eisenstein's and Bataille's thinking. In doing so, I defend the important methodological principle, exemplified by Michelson's work, that theory should not be applied, top down and a priori, to art as if it were mere grist for the theory mill. Eisenstein was a deeply original thinker and filmmaker, and while he might have shared some of Bataille's interests, he did so for reasons antithetical to Bataille's. His work should not, therefore, be appropriated by what Michelson called the "veritable Bataille industry ... [that] has proliferated to the point of generating a grille through which the reading of the Eisensteinian text is now proposed." [ABSTRACT FROM AUTHOR]

This document is a review of three books that examine the relationship between race and suburban life in America. The first book, "The Changs Next Door to the Diazes" by Wendy Cheng, focuses on the experiences of diverse residents in California's West San Gabriel Valley, challenging the dominance of whiteness in suburban narratives. The second book, "Citizen Brown" by Colin Gordon, explores the struggles of African Americans for citizenship and equality in St. Louis, particularly in relation to segregation and policing. The third book, "Race and the Suburbs in American Film" edited by Merrill Schleier, delves into the role of race in the construction and representation of suburban neighborhoods through film. These books offer valuable insights into the complexities of race in suburban America. The text also discusses the issue of racial segregation in St. Louis, examining its impact on housing, education, and the justice system. It explores the historical factors that have contributed to segregation, such as zoning policies, white flight, and urban renewal projects. Additionally, the text explores how these issues are reflected in American films, particularly those set in suburban areas, and how cinema can both perpetuate and challenge racial exclusion. The authors argue that understanding the connections between race, suburbia, and neoliberalism is crucial for addressing and dismantling systemic racism. [Extracted from the article]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)

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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.)

Metaphor transcends its role as mere embellishment and emerges as a pivotal process within both language and cognition. This article ventures into uncharted territory within film studies by exploring the potential application of Max Black's interactional theory of metaphor and cognitive metaphor theory to analyze metaphor in film language. This perspective, though hitherto unexplored in film studies, proves indispensable for dissecting complex metaphorical structures within film texts and offers a precise framework for understanding associative language in film. Initially, this study delves into the description of the metaphorical process as delineated by interaction and cognitive metaphor theories, applying them to the analysis of film texts. Special emphasis is placed on elucidating how ideology intricately intertwines with the construction and reception of both conventional and non-conventional metaphors. In the article the final segment, meticulous analyses of Roland Emmerich's "2012" is conducted, spotlighting the interplay of structuring, personification, and displacement metaphors in shaping the ideological discourses embedded within the films. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema 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.)

During the second half of the 1940s and into the 1950s, attendance at French films at the French box office was at its peak. The genre spectrum of the leaders of the “golden ten” of the French film distribution was diverse, but in general it was based on films of entertainment genres, which starred the favorites of the French public. Beginning in the mid-1960s, attendance at French films began to gradually decline (largely due to competition from television and Hollywood productions). An even greater decline in cinema attendance in France began to be felt in the 1980s. This was affected not only by strong competition from Hollywood products and television, but mainly by the massive distribution of household video equipment, which riveted millions of French people to their home screens, who previously preferred to watch films in cinemas. In the second half of the 1940s, there were very few French films in Soviet film distribution. This was largely due to the fact that it was during this period that so-called trophy films (mainly American and German) were shown on USSR screens. Due to the fact that by the mid-1950s the screening of so-called trophy films (mainly American and German) in the USSR was completed, in the second half of the 1950s more new European films, including French ones, began to be released in Soviet cinemas. The “thaw” that came to the USSR brought significant changes to procurement policy. For example, of the top ten leaders in French film distribution in 1958, exactly half were shown on USSR cinema screens. The work of the Soviet film purchasing commission in the 1960s was quite liberal, which (especially after the start of the “Prague Spring” of 1968) could not escape the conservative wing of the “ideological front”: a number of articles were published in the Soviet press with sharp criticism of the distribution policy regarding Western film products, “promoting the bourgeois way of life.” Among the reasons why French films were not included in Soviet film distribution are the following: – Taboos on erotica, accentuated religious and Jewish themes; – The fear that Soviet viewers might somehow misunderstand shocking plot twists from the point of view of official Soviet morality, which were often found even in artistically significant films; – Exclusion from candidates for the purchase of films with an interpretation of Russian and Soviet themes (and accordingly, Russian and Soviet characters) that is unacceptable for Soviet ideology; – The struggle of Soviet censorship with incorrectly (from its point of view) ideological accents on military topics; – Undesirability for Soviet censorship of films “promoting the bourgeois way of life”; – The undesirability of images of charming criminals appearing on Soviet screens; – The unacceptability of purchasing new films with the participation of famous actors who publicly criticized the policies of the USSR; – Too high prices offered by copyright holders; True, in the Soviet film distribution in the second half of the 1980s and early 1990s, French films began to increasingly appear, one way or another violating former censorship taboos. This was due to the fact that with the advent of perestroika, the work of the purchasing commission of the USSR State Cinema Committee became more liberal and in many ways began to focus on the purchase of highly artistic foreign films, and the former strict ideological and moral prohibitions ceased to apply.... [ABSTRACT FROM AUTHOR]

Ana M. López was a pioneer in Latin American film and cultural studies. Her work focused on the significance of classical Mexican melodrama and Latin American telenovelas, challenging previous dismissals of these forms. López's publications advanced a broader perspective of Latin American cinemas, including the New Latin American Cinemas, and brought cultural studies perspectives into the field of Latin American film studies. She also emphasized the transnational focus of Latin American cinema, highlighting cross-border dynamics and the influence of traveling filmmakers. López was known for her generosity and nurturing nature, creating a community of young scholars and defending their research topics. Her work continues to inspire new avenues of research in the field. [Extracted from the article]

This collection of essays explores the ways in which Iberian cultural production has constructed kings and queens since 1975. Our focus is the royal figure who inherits their status and power through 'blood' and justifies their power invoking the transcendental mystique of monarchic sovereignty. In one way or another, the figures of Juan Carlos I and his son Felipe VI permeate all cultural representations of monarchical rule produced during the democratic period; and these representations shape our political understanding of the two kings and become a site to contest hegemonic understandings of Spanishness, post-Francoist Spain and Iberian political communities. [ABSTRACT FROM AUTHOR]

The Spanish process of addressing Euskadi Ta Askatasuna's (ETA) violent past has not followed a single transitional justice model or established a truth commission akin to those in South Africa, Latin America or Eastern and Central Europe. Instead, the case of Spain is marked by diverse legal, political and civic endeavours, sparking distinct discussions and artistic depictions regarding the dialectic between justice, forgiveness and reconciliation when addressing past crimes. By drawing on Hannah Arendt's influential perspective on reconciliation and its critiques (in particular, by Jacques Derrida), this article combines philosophy and film studies to contribute to the interpretation of Icíar Bollaín's recent film, Maixabel (2021). The film explores real-life instances of reconciliatory transformation that were part of the short-lived 'reparatory encounters' between ETA criminals and their victims. Bollaín's realist directorial intent notwithstanding, the significance of the encounters and reparatory justice leading to personal healing and social reconciliation is not self-evident but a matter of debate and legitimately different standpoints and experiences. This article sheds light on the hidden cracks of the cinematic mirror of the reparatory encounters by analysing the directorial intent, Maixabel, and Maixabel Lasa's testimony, the key inspiration for the movie. Bollaín's understanding of her film and the reparatory encounters echoes the Arendtian vision in that it separates reconciliation from forgiveness. In contrast, the film, and the real-life Maixabel Lasa's self-understanding, construct alternative views of reparatory reconciliation that embrace both public and personal acts of forgiveness. This leads to a phenomenologically richer depiction of reconciliation, forgiveness and transitional justice, one that does not conform to the rigid constraints of philosophical prescriptivism. [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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.)

Scenes as vivid in our cinematographic memory as Tara's views in Gone with the Wind (Victor Fleming, 1939), the oppressive sewers in the final sequence of The Third Man (Carol Reed, 1949), the vistas of Rome in Ben-Hur (William Wyler, 1959) or the famous final shot on the beach in Planet of the Apes (Franklin J. Schaffner, 1968), all place the viewer, without their awareness, in front of an image produced using the mechanism known as matte painting. It is a resource to which cinema has turned with considerable frequency over the course of its history, albeit one which has received little to no analytical attention from film studies. With a view to redressing this omission, this essay will aim to create a conceptual framework within which a rigorous analysis of this technique can be carried out in the context of film aesthetics. For this, it will be useful to start by reviewing the existing definitions of this term and proposing not one but two updated ones. This will then allow us to conceptualize this practice as a mechanism for assembling spaces, employing analytical tools used for editing in order to understand the way in which matte painting performs its unique construction of the cinematographic space. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy 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 aim of this text is a critical analysis of current developments and potential applications of quantitative methods in film studies. Within its scope, a concise reconstruction of the methodological foundations, historical development, and key achievements of statistical, experimental, and digital humanities tools in relation to audiovisual media research is conducted. This involves a review of the phenomena that have developed so far as well as a philosophical consideration of the sources, consequences, and potential limitations of quantitative thinking in an area traditionally occupied by the humanities. Quantitative methods are not considered here as a replacement for existing paradigms, but rather as their complement, extension, and often inspiration. This allows to understand the current transformations but also integrate them with traditional research approaches, and identify the pitfalls and difficulties associated with this paradigm shift.

The document provides brief biographical information about several contributors to the journal KronoScope. Andrew Edmund Goble is a professor of Japanese History and Religious Studies, specializing in medieval Japan and medical history. Javier Cristiano is a professor of Sociology, focusing on the relationships between capitalism and the social organization of time. Gonzalo Iparraguirre is a doctor in Anthropology, specializing in time, and works as a consultant in time policies and cultural change management. Raphaëlle Costa de Beauregard is an Emeritus Professor of English Literature and Film Studies, with a current focus on silent cinema. Steve Ostovich is an emeritus professor of philosophy, with research interests in critical theory, political theology, and film studies. Kerstin Cuhls is a scientific project manager and professor of Japanology, specializing in Foresight/Futures Research and time research. Irmtraud Huber is a professor of English Literature and Literary Theory, with a recent focus on Victorian poetry. David Fries is an interdisciplinary Research Scientist and CEO of Guided Particle Systems. [Extracted from the article]

"The New American War Film" by Robert Burgoyne explores the changes that have occurred in the war film genre over the 21st century. The book argues that traditional war film conventions have been subverted and no longer recognizable, with the terrorist attacks of September 11th, 2001 accelerating these changes. Burgoyne uses case studies to illustrate his arguments, including the depiction of children in war films. The book also highlights the privileged position of Western figures in the narrative and the affect shift from victims of warzones to agents of war. The observations made in the book can be extended to other mediums such as prestige TV and war-themed video games. Overall, "The New American War Film" provides valuable insights into the understanding of violence and framing within the genre. [Extracted from the article]

This article discusses three films directed by Joko Anwar between 2015 and 2019: A Copy of My Mind (2015), Satan’s Slave (2017), and Impetigore (2019) within the context of gender philosophy to address the gender issues in the film. Joko Anwar is a well-known Indonesian director whose works are box-office hits and range from horror to drama, but typically feature marginalized members of society, especially women. Impetigore was the first horror film to receive Citra Award, the highest film award in the Indonesian film industry, as the best film of 2020. He was also the winner in the Best Director category based on the same film. These three films were chosen for qualitative analysis, as each features a major female character struggling against societal norms. This issue is examined by closely focusing on the films’ cinematography and mise-en-scène, including the shot types, camera angles, framing, and dialogue. The obtained findings reveal Joko Anwar’s gender philosophy that champions non-normative female characters willing to challenge the accepted norms and closely aligns with the concepts promoted by radical feminism. While his work emphasizes the universal value system of patriarchy as the source of oppression and subordination toward women, the main female protagonists’ performance continuously reproduces double meaning in the context of challenging patriarchal and societal norms.

ABSTRACTSeveral television scholars have objected to the frequently made claim that TV drama in recent decades have become “more cinematic”, partly because cinematic-ness is such an ill-defined concept. This article seeks to make the concept less ambiguous and more useful by offering some basic distinctions between different meanings invoked by “cinematic”. I propose two meanings associated with production values, which are moderately evaluative, and two where “cinematic” serves as a higher compliment, one related to craft/skill, the other to notions of medium specificity. I also relate these meanings to the idea that TV series have grown increasingly cinematic. Here I argue that “film” and “television drama” are far too voluminous and heterogeneous categories to bear comparison in general, but that they can be meaningfully studied when framed as contingent creative practices grounded in time and place. The particular context for my discussion of “cinematic television” is American TV drama since the turn of the millennium. The article does not merely seek to clarify the connotations of “cinematic”, but to use cinematic-ness as a prism to through which important stylistic shifts in American TV drama can be examined. As such, the conceptual-theoretical discussion also serves historiographic purposes: The different meanings of “cinematic” highlight different industrial developments, which offer complementary perspectives on the aesthetics of American TV drama since the late-1990s.

The Covid-19 pandemic posed fundamental challenges for the cinema industry, encouraging potentially lasting changes in the ways films were delivered to and consumed by audiences. In light of this, this article evaluates the impact of an earlier pandemic, the waves of influenza that affected the United Kingdom in 1918–1919. The flu struck as cinema was establishing itself as a distinct entertainment form, although still subject to criticism for its perceived effects on the moral and physical health of those attending. Consequently, the exhibition of film became a prime focus of ameliorative action, many health professionals and local councillors seeing it as a prime vehicle for the transmission of disease. For all that, the impact of any regulations proved to be uneven: attention centred primarily on the threat to children and servicemen in uniform, and what restrictions were imposed proved highly localised, reflecting systems of health administration inherited from the previous century. Finally, compared to experiences elsewhere, the duration of controls proved brief. An assessment of the flu's impact is offered for both the short term, reflected in the finances of individual businesses and aggregated tax returns, and the longer term, in challenging or reinforcing perceptions of cinema's social worth. [ABSTRACT FROM AUTHOR]

This essay begins with a brief account of the French linguistic structuralism and very briefly some aspects of the post-structuralist critique of it, here represented by Lacan and, Deleuze, and Guattari as a response to it. Against this backdrop, the purpose of the essay is to show a critique of structuralism that came earlier than the post-structuralist one, namely that of the Russian philosopher of the dialogic speech and literary scholar Mikhail Bakhtin in the 1920s. The concept of the dialogical word has had a major influence in cultural semiotics, literary – and film studies and existential psychotherapy. A second purpose of this essay is to briefly show in what way the ethics of the dialogical word is important in the latter, in existential psychotherapeutic work. Translations from Swedish and French are mine. [ABSTRACT FROM AUTHOR]

As a purely academic exercise of interest, and spurred by a curious debate in a blog entry over a decade ago, the purpose of this paper was to appreciate the incidence of select movie (film) titles in the titles of papers indexed in Scopus. Using 11 of the first 20 titles of a top 100 list of movie classics at the "Rotten Tomatoes" website, we assessed (January 2024) how frequently they appeared in the titles of those papers. While the vast majority of movie titles referred to the movie (or book version) itself, except for "The Wizard of Oz", which had 74.6% positive results for a software with this name, we found that some authors may have employed such titles to draw attention to their papers because readers would likely to be drawn to them due to familiarity with the movie title, or name recognition. To test this hypothesis, we assessed citation counts relative to the average of other papers published in the same journals and in the same years, finding that 83% of the 95 papers assessed had lower citation counts than the average of papers published in the same journal and in the same year. We also considered the ethics of the verbatim use of movie titles, especially of movies that may be copyrighted, when quotation marks are not used, or the absence of a note within the paper itself to indicate the source of the title's inspirational wording. Although we are cognizant of several limitations to this study, which serves as an initial springboard for additional future multidisciplinary studies, we suggest some additional research ideas to popularize the intersection between film studies, basic academic sciences, bibliometrics, and publishing. [ABSTRACT FROM AUTHOR]

For Hong Kong filmmakers, co-productions with mainland China are transborder assemblages characterized by increasing territorialization and coding that impart to them a palpable crisis of losing locality. However, this crisis does not necessarily mean the loss of a critical perspective. Johnnie To's three co-produced action films demonstrate his struggles to evade or even take advantage of the disadvantageous status of dislocality and work under restricted creative conditions to carve out a space for critical expressions. Drug War not only brings to the screen the arbitrary nature of state sovereignty by telling the story of a cross-border crime—one in which narrative doubling plays a key role—but also offers reflections on Chinese urbanization in its visual composition, which takes the style of a kind of suburban realism. Three and Chasing Dream represent To's latest efforts to develop an aesthetics of the studio defined by a tendency toward abstraction such that he uses his dislocality as a basis for a critical perspective on Hong Kong society and, especially, contemporary Chinese neoliberalism. Intertextual allusions, whether large-scale plot structures and visual styles or small-scale features of characterization and dialogue, are pervasive in To's co-productions. These allusions can and should, I argue, be drawn into the new context of To's transborder assemblages for a better understanding of his work. [ABSTRACT FROM AUTHOR]

This article explores toxic masculinity in Indian cinema through an analysis of Arjun Reddy. It examines how film perpetuates patriarchal norms and reinforces gender inequality. By examining the portrayal of the protagonist and society's reactions, it reveals the impact of film representations on real-life attitudes. The study highlights the need for alternative narratives that challenge traditional gender norms and promote diversity in masculinity. It advocates a critical analysis of film discourse to promote a more inclusive portrayal of gender identities in Indian cinema. [ABSTRACT FROM AUTHOR]

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