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Online review platforms often present reviews from both critics and general users. In this research, the authors propose a measure called "topic consistency" to capture the degree of overlap between critic and user review content. High topic consistency suggests greater information recall due to repeated presentation of the same topics, which may increase the memorability of movie attributes and therefore positively affect movie demand. The authors measure the topic consistency between critic and user reviews using topic models and further study the financial consequences of this measure using data for movies released in the United States. Topic consistency is positively associated with subsequent box office revenue, suggesting a positive relationship between topic consistency and movie demand. Furthermore, the effect of topic consistency on demand is the greatest for movies with mediocre review ratings and when the review ratings from critics are close to those from users. Using lab experiments, the authors provide evidence of the causal link between topic consistency and consumers' willingness to watch a movie, and support for the potential mediation through the information recall of reviews. Movie producers and advertisers should consider highlighting or inducing a central theme for critics and users to discuss, as the more the review content of critics and users overlaps, the higher a movie's revenue. [ABSTRACT FROM AUTHOR]

Copyright of Revista Bioetica is the property of Conselho Federal de Medicina 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.)

Drawing on terror management theory (TMT), three experiments examined the impact of mortality threat on nostalgic entertainment experiences. Study 1 (N = 98) validated the stimuli used to elicit three different types of threat: mortality, isolation, and illness. Study 2 (N = 464) found no impact of these threats on participants' entertainment preferences. Consistent with TMT, Study 3 (N = 906) found that participants experienced a deeper sense of appreciation and solace when they watched a movie under mortality threat. However, these effects only occurred for a lighthearted movie with nostalgic qualities (i.e., Pixar's Toy Story) and not for a meaningful movie with death-related themes (i.e., Pixar's Onward). The results illustrated the need for entertainment theorists to adopt a more expansive conceptualization of meaningfulness. [ABSTRACT FROM AUTHOR]

Ernest Hemingway and Orson Welles shared a romantic enthusiasm for Spanish traditions, particularly bullfighting. Nevertheless, Welles rejected Hemingway's influential interpretation of the corrida as well as the macho archetype the writer had established for the foreign aficionado. This article draws on new archival research to examine three distinct film projects Welles developed in his later years that imaginatively engaged with Hemingway's personality and his legacy. These projects were left in varying states of incompletion, which has meant that an important theme in Welles's late work has remained largely invisible until recent years. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Social Sciences / Roczniki Nauk Społecznych is the property of Towarzystwo Naukowe KUL & Katolicki Uniwersytet Lubelski Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study represents a field experiment on the effectiveness of brand placements in movies. The authors investigate the interaction effect of prominence (how prominently the brand is represented in the movie) and plot connection (how well the placement is related to the movie's story line) on actual moviegoers' recognition of brands and their attitude toward them. The results show that brand recognition scores are highest for brand placements that are both highly prominent and strongly plot connected, whereas brand attitude is most positive when brands are strongly connected to the plot, but placed less prominently. The results further show that brand recognition mediates the effect of plot connection, but not prominence, on brand attitude. [ABSTRACT FROM AUTHOR]

The article explores the influence of American Western films on the Soviet republic of Georgia. Some of the Georgian films discussed include the 1923 motion picture "Little Red Devils" directed by Ivane Perestiani and the 1925 film adaptation by Alexander Tsutsunava entitled "Who’s Guilty" based on Nino Nakashidze's play. American motion pictures shown in Georgian theaters include "The Magnificent Seven" and "Stagecoach." Themes considered include patriotism, individualism, and violence.

The article focuses on the theme of heroes and heroism in movies that director Kevin Costner has acted in and directed. It suggests Costner is drawn to the theme of heroism because he considers it an inevitable need for men to defend themselves as well as those they love. It comments on the role of heroism in various films he has acted in and directed and on the depiction of lawlessness in these films. It suggests that Costner views heroism in facing and loving other people.

The article deals with the basic principles of the functional classification of music in contemporary cinema, with the use of new technologies in the process of creating music for movies, and innovations introduced by modern film composers. The basic principles of functional classification of music in modern cinema should be considered with regard to systemic, socio-cultural approaches, to the latest developments in cinema studies and musicology, as well as comparative-historical and logical-analytical methods. The main principles of sound and image interaction in cinema are established, being: mutual reinforcement and counterpoint between sound and visual components in film drama, consistency and logic in the development of the storyline and unfolding of the concept of the film, harmonization or intensifying the interaction between the inner sense and perception of this sense by the recipients. The main functions of music in cinema are defined: managing emotions; intensifying artistic communication; creation of intertextuality within the work; "background" support of the main plot line; combining the other components of the structure of the screenplay, including parts of the storyline. Nowadays, the following basic models of interaction of music with a plot function in cinema: illustrative, contrast, synchronous, communicative and structural. The basic principles and functions of music in modern cinema, caused by the development of compositional practice and changes in filmmaking technologies, are substantiated. The functions of music in cinema determine the certain models of interaction sound and visuals on screen. [ABSTRACT FROM AUTHOR]

This article provides an analysis of how Blade Runner 2049 (Villeneuve US/UK/Canada/Hungary/Spain 2017) can be understood to occupy the position of a 'quality' Hollywood film through two main points of focus. First, the essay examines the textual basis on which the film can be seen to claim, and was accorded, a particular kind of 'quality' status, including examination of a number of bases on which notions of quality of this variety are articulated within prevailing hierarchies of cultural value. This includes what can be seen as 'serious' and 'substantial' thematic dimensions and aspects of style ranging from narrative structure and pacing to general audiovisual qualities and use or otherwise of elements such as action and the spectacular. Second, it considers what space is available in the contemporary corporate studio system for the production of works that depart from dominant norms to some degree in such ways. Rather than being taken as evidence of some kind of breakthrough or as an entirely one-off anomaly, Blade Runner 2049 is examined as evidence of an ongoing availability of a certain margin for the production of films that can accorded 'quality' status of this kind within Hollywood. [ABSTRACT FROM AUTHOR]

In the cinema of Joel and Ethan Coen, contemporary America is depicted as an incoherent space in which traditional beliefs constantly collide with the new world order. Shaped by the erosion of commonly accepted values and the ubiquitous presence of the media and advertisements, this hybrid America is a world of commerce, consumption, and economic plight. While its cities are plagued by segregation, outbursts of casual violence undermine the myth of an unspoiled life in the countryside. Illustrating postmodern culture's preference for the periphery versus the center, the movies of the Coen brothers find a glimmer of morality remaining on the margin of society. Unimposing and compassionate characters such as the pregnant small-town detective in Fargo or the naive yet brilliant protagonist of The Hudsucker Proxy personify an idealistic, innocent America that is about to be displaced by selfish greed. Focusing on Fargo , The Big Lebowski , and The Man Who Wasn't There , my essay argues that the Coens' visual playfulness, and their tendency to mine various cinematic genres, serve to emphasize their scathing critique of the American victory narrative. [ABSTRACT FROM AUTHOR]

This article is a critical appreciation of the often misunderstood and controversial filmmaker Ajay Raina, who frequently finds himself at a discursive crossfire, being criticized by both Hindu and Kashmiri nationalists. Through a discussion of Raina's three Kashmir-related documentary films, I will indicate the limits of the personal film as a challenge to official or hegemonic conflict narratives. The analysis focuses on the mediation of exile narratives, conflict testimony and visual evidence in the ethical space of film. I will argue that, through ethical protocols of film production and the vérité-form, Raina opens a complex space for the negotiation of conflict narratives. These openings are, however, under threat of ideological closure because of attempts to anchor the audio-visual testimony through his personal voice-over and a narrative of secular nationalism. Finally, I am drawing on the concept of embodied memory to better understand these ambiguous moments when his intentions are crossed by divergent readings from different audiences. [ABSTRACT FROM AUTHOR]

The article examines the theme of failure and optimism in Todd Solondz's "Dark Horse" and its link to his downward career trajectory. It argues that although the film's unlikeable protagonist Abe and Solondz do not resemble each other, Abe's failure provides an enabling allegory for interpreting obstinacy within Solondz artistic practice in the face of career extinction. Optimism here is portrayed as combination of faith and tenacity that provides Solondz a means to get going despite failures.

The article analyses the film "This Is Our Land" by Lucas Belvaux. Topics include drama of French provincial life and national politics, the complicated plotting and politics in the film, Trump's policy of putting Latinx babies and toddlers in tender age holding facilities in Texas, and pretensions of arthouse cinema in the film.

The article analyses Mathieu Kassovitz's film "Métisse." It mentions that based on pregnancy narratives, director focuses on romantic plotline and comic moments of dialogue and movement . It also depicts typical pregnancy film elements of gestation and birth out-of-wedlock, the paternity test and announcements, gynecological visits, and familial drama.

An introduction is presented in which the editor discusses the articles within the issue related to the work of filmmaker Wes Anderson presenting information on the theme of his films including "Rushmore", "Bottle Rocket", and "Moonrise Kingdom".

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The article analyzes the 1944 film noir "Laura" directed by Otto Preminger. It presents an overview of the film's plot and the portrayal of the main character, Laura, by actress Gene Tierney. The depiction of the connection between luxurious female style and dangerous femininity in the film's trailer is discussed, as well as the representation of fashion in the film.

No human actors are seen, but Flimmer still seethes with motion, both motion within the frame and motion of the frame. The subtle camera movements, perhaps at first unnoticed, play an important role in creating the poetic mood of the film, curious, playful and reflexive. [ABSTRACT FROM AUTHOR]

Bamboleho is less concerned with plot resolution than with visual aesthetics and the communication of significant moments. More than an exercise in style, Bamboleho encourages the spectator's active engagement - aesthetic, poetic, philosophical - with the moment itself, independent of causality and in tension with potentially exclusive social realist readings. [ABSTRACT FROM AUTHOR]

Jasmine compiler Opal Louis Nations surveys the R&B, pop, and rock scene hoping to update 21st century listeners who are more familiar with short MTV videos, film length bio-pics, and other rock documentaries. Classic early rock movies, ranging from I Don't Knock the Rock i (Columbia Pictures, 1956) and I Jamboree i (Warner Brothers, 1957) to I The Girl Can't Help It!. [Extracted from the article]

Copyright of Brecht Yearbook is the property of Camden House Publishing 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.)