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It has been claimed that the HR "profession" suffers from a chronic shortage of social legitimacy. In this article, we advance the idea that HR is also to some extent subject to public stigmatization for being immoral. In other words, we maintain that certain aspects of contemporary HR work can be conceptualized as morally dirty work. We provide empirical support for this contention by analyzing a set of 28 films portraying HR practitioners at work. The research results comprise both task‐related and method‐related filmic representations of HR work as immoral, thus furnishing a comprehensive and nuanced picture of the moral issues that can affect the HR profession. Furthermore, the results show that some of the HR characters analyzed—typically those who hold a role as (co‐)protagonists in the story—realize the immorality affecting their work and decide to distance themselves from it by either exiting the role, trying to reform it, or openly raising resistance against their employer. These research results suggest the need to integrate dirty work scholarship into study of the HR profession, while they provide important indications in terms of future HR research, practice and education. [ABSTRACT FROM AUTHOR]

“Central Airport THF” is a documentary film about the temporary housing of refugees in the halls of the former Tempelhof Airport, located at the edge of Berlin’s Tempelhofer Feld. As if by accident, the director contrasts the arrested life in the adapted shelter to the mobility of life in the politically contested Tempelhof Park adjacent to it. Beginning with the specific locality of Central Airport Tempelhof, its architecture, history, and current use as refugee housing, the film employs aesthetic means to render an affectively knowable violence that extends to the very ground of what we call ‘infrastructure.’ The analysis of these aesthetic moments leads to questions that are only rarely addressed in the context of displacement and asylum, but are no less central to the relationship between displacement and mobility: What is common possession? Who owns the world? Does the world fall—can it even fall—under the categories of property or ownership?

This paper contributes to international scholarship on racial literacy in teacher education. Specifically, we consider filmic counter stories as bodies that carry an affective charge with the potential to ignite dialogic and embodied/emotional learning. The football documentary The Final Quarter is our case study. This film traces the racially explosive final years of First Nations Australian, Adam Goodes' elite playing career. The film floodlights football as a site for public pedagogy where people learn racism, with the film offering means of developing racial literacy through examining its encounters. The paper describes racial literacy and establishes affect/embodiment as a contribution to the field. We analyse the film using an affective-discursive lens and genealogical methodology and consider implications for teacher education. We argue that language is insufficient for understanding racism and that the affective intensities activated by film may help to pedagogically illuminate the role of emotions in reproducing racism. [ABSTRACT FROM AUTHOR]

This paper aims to analyze several specific forms of filmmaking very related to neoliberalism as an economic, political and cultural system, taking as reference the affective turn to explore this link. For this, it will be considered the different contributions that, from different fields of social sciences, have linked the evolution of capitalism with the conquest of the sphere of affections and emotions, and it will use the methodology of film analysis to verify, in a set of concrete works, the features of that relationship. From this intersection between theoretical proposals and case analysis, the article wants to show an expressive strategy based on the humanization of certain behaviors, through the cinematographic narrative, which normalizes some attitudes and values due to decisions which work on the construction of the story an the aesthetics of the work. This strategy will be verified in three very significant films: The Social Network, Steve Jobs and The Founder. [ABSTRACT FROM AUTHOR]

Copyright of O Social em Questão is the property of Faculdades Catolicas - Pontificia Universidade Catolica do Rio de Janeiro 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main topic of the article is the use of ideological criticism (as presented by Slavoj Žižek) as a method in comparative analysis of The Hourglass Sanatorium by W.J. Has and The Monument by J. Szelc. The author not only looks for objective determinations of social reality, but also for its hidden forms. The conclusions allow us to see the dynamics of changes in the symbolic orders that implicitly organize the narrative structures of both films. Furthermore, in this perspective they become a diagnosis of the present in the face of Polish “year of dangerous dreams”.

Films and texts differ in terms of their possible logical structures and freedom of presentation on an output medium. While texts can be structured at any depth, the capabilities for structuring films are generally limited. In the presentation of textual documents, the sentence order is usually preserved, whereas video documents often allow rearrangements that lead to new alternations of shots. The fundamental difference between textual and video structures is taken as a starting point. Then, based on a detailed analysis of two different layouts of the film The Sunbeam by D. W. Griffith, a formal criterion for distinguishing between internal, discursively motivated and external, diegetically motivated alternations is developed. The results enable a new approach to alternation in film analysis and production. [ABSTRACT FROM AUTHOR]

Copyright of Western Anatolia Journal of Educational Sciences (WAJES) / Batı Anadolu Eğitim Bilimleri Dergisi is the property of Dokuz Eylul 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.)

Copyright of Revista 180 is the property of Revista 180 and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the recent Russian and Serbian pop-political entanglement. Russians usually rely on hard-power elements like military, energy and economics, but in the last several years they became active as sport club sponsors, telecommunication provider's partners and film producers. The article examines the latter phenomenon of increasing presence of Russian characters within Serbian media culture, whether it is domestic, Russian or American production, like in the case of Stranger Things, where a Serbian actor Nikola Đuričko plays a Russian smuggler. The central figure though is young actor Miloš Biković, hired many times by Russian film producers in the last decade. His film The Balkan Line (2019) is examined in this article as a representative of Russian soft-power influence as well as their geopolitical stance. The Balkan Shadows (2017–present) and Stranger Things (2016–present) are analysed as pro-western counterparts in this superpower struggle within Serbian media culture. [ABSTRACT FROM AUTHOR]

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

Even though Mussolini’s famous definition of cinema as “the strongest weapon” implies a common ground between filmmaking, propaganda, technology, and warfare, a casual viewer of Fascist-era films would be hard-pressed to find explicit references to this interconnectedness. In fact, narrative films made at the time hardly ever dealt with the realities of the regime, to the point that in 1979 Carlo Lizzani spoke of Fascist cinema by calling it “an absence.” Nonetheless, the Fascist obsession with modernity and technological innovations emerges in different ways from most films produced during the Ventennio. Despite their surface-level optimism and faith in the process of modernization, many of these films betray the feelings of anxiety and uncertainty that accompanied the shift from tradition to modernity, reflecting the complexity of the regime’s own attitude towards these cultural modes. In particular, films shot on location in the colonial territories of Eastern Africa display an interesting ambivalence towards technology and the colonial effort itself: while their narratives are seemingly celebratory, the cinematic style they display reveals a more complicated relationship with the Fascist myth-making agenda.This paper will examine four titles belonging to this body of films, grouped by Ruth Ben-Ghiat under the label of Fascism’s Empire Cinema, and will explore their portrayal of modernity by focusing on their representation of the relationship between technology and the human body. I will argue that these films reflect the contradictions intrinsic to the Fascist ideology of progress, and the technological mediation of the camera allows for this ambivalence to emerge without being explicitly stated. That is why, rather than adopting a cultural studies approach, I will employ film analysis as a tool to conduct historical research. I will depart from the film texts and, by analyzing the formal structure of some of their key moments, will locate the places in which feelings of uncertainty towards Fascist ideals of progress, strength, and masculinity ripple underneath a seemingly triumphal surface.

This paper looks at the gendered representations of female soldiers in war films and reflects on how the role of women in war is imagined. In particular, it questions the media and popular cultural attention that the female Kurdish fighters received, and thereby contributes to the research on women engaged in political violence and their popular representation. A visual, narrative and contextual analysis of two French films (Girls of the Sun (2018), Sisters in Arms (2019)) exposes how female Kurdish combatants are depicted and for what purpose. I argue that the films contribute to the instrumentalisation of the Kurdish Freedom Movement to promote an essentialist understanding of gender and to enact civilisational superiority. I derive several implications from this analysis. First, that it fosters Islamophobic policies at home. Second, that it undermines the revolutionary political project. [ABSTRACT FROM AUTHOR]

This research aims to analyze how the film "The Crew" utilizes flashbacks, pacing, and foreshadowing to deepen character development, enhance suspense, and maintain thematic coherence. Storytelling and narrative techniques are crucial in contemporary cinema for engaging audiences. "The Crew" serves as a case study for exploring effective narrative construction, drawing on theoretical concepts from Bordwell, Thompson, and Chatman. This qualitative study involves detailed scene analysis of "The Crew" to examine the application of flashbacks, pacing, and foreshadowing. The research focuses on how these techniques contribute to the film’s narrative structure and audience engagement. The findings reveal that "The Crew" effectively uses pacing to modulate emotional intensity, flashbacks to provide character backstory, and foreshadowing to create anticipation. These techniques enhance character development, suspense, and thematic coherence. The study recommends incorporating these narrative techniques to achieve a deeper engagement and emotional response from audiences, contributing to more effective storytelling in contemporary cinema. [ABSTRACT FROM AUTHOR]

Copyright of Western Anatolia Journal of Educational Sciences (WAJES) / Batı Anadolu Eğitim Bilimleri Dergisi is the property of Dokuz Eylul 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.)

Copyright of ModaPalavra e-periódico is the property of Universidade do Estado de Santa Catarina 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 Beytulhikme: An International Journal of Philosophy is the property of Beytulhikme: An International Journal of Philosophy 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 Culture & Communication / Kültür ve İletişim is the property of Imge Publishing House 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.)

Silent cinema acted as a bridge between early motion pictures and today's film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, whereby film analysis generally aligns with established feminist silent film theories. By shedding light on a previously overlooked film directed by May Tully, this study challenges the widespread belief that there existed "no women directors in 1925". The examination of databases reaffirms American women directors' contributions to silent films, especially during the early years of the silent film era. The results modify the previous scholarly notion that "influential women directors' involvement was over by 1925". Following an initial surge in their active leadership during the early years, influential women directors' participation was over after 1922, rather than 1925. [ABSTRACT FROM AUTHOR]

Films and texts differ in terms of their possible logical structures and freedom of presentation on an output medium. While texts can be structured at any depth, the capabilities for structuring films are generally limited. In the presentation of textual documents, the sentence order is usually preserved, whereas video documents often allow rearrangements that lead to new alternations of shots. The fundamental difference between textual and video structures is taken as a starting point. Then, based on a detailed analysis of two different layouts of the film The Sunbeam by D. W. Griffith, a formal criterion for distinguishing between internal, discursively motivated and external, diegetically motivated alternations is developed. The results enable a new approach to alternation in film analysis and production.

Disability is not a subject that is often covered in contemporary Lebanese cinema, despite a few initiatives taking place in the past decade. This article analyses the representations of characters with disabilities in four Lebanese films: Ghadi (2013), Bébé (2013), Rabih or Tramontane (2016), and By Chance or Bel Sodfé (2019). The study reveals that these films oscillate between critiquing societal norms and state policies, covering the disability from a medical standpoint, and normalizing disability. Additionally, the films underscore the significant role played by families in caring for disabled individuals in Lebanon. The study also highlights how the portrayal of disability was exaggerated when played by able-bodied actors but was more understated and sometimes excessively normalized when the actors had real-life disabilities. Finally, the article argues that taking intersectional identity into account can lead to more nuanced and diverse conclusions about the representation of disability in Lebanese cinema.

This paper aims to analyze the movie The War Is Over (La guerre est finie—France/Sweden, 1966, directed by Alain Resnais and a screenplay by Jorge Semprún). The idea is to point out a possible sociological discussion on exile, mobilizing the notion of mental images. The methodological approach is an internal analysis of the film to allow for the elaboration of sociological considerations along with the expressive elements of the film construction. To do so, we shall focus on the "leaps" within the movie's narrative order, in which a main character (Diego) anticipates, through imagination, a series of sequences and events that might or might not have occurred. To discuss the notion of mental images and their relationship with the imaginary, the theoretical reference will be Cornelius Castoriadis' book The Imaginary Institution of Society. This article will benefit from the discussions in the presentations about the film both at meetings in Brazil and at the last ISA Congress 2023 (International Sociological Association—Research Committee 37—Sociology of Arts). This text is one of the results of research supported by the São Paulo Research Foundation (FAPESP). [ABSTRACT FROM AUTHOR]

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

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

Significant advances in virtual reality (VR) technology have called into question the traditional methods of cinema storytelling and dissemination. New VR devices, such as the Meta (Oculus) Quest, have expanded the possibilities for viewing movies. The purpose of this study is to compare the emotional and cognitive impacts of VR and traditional 2D movies. In this study, sixty volunteers were divided into two groups and presented a movie (Gala) in 2D or VR format. We employed a multimodal method to assess the cognitive and emotional effects of the film both during and after watching. Our technique combined self-reports, interviews, questionnaires, and objective heart rate and EEG brain activity data. After quantitative and qualitative evaluation, it was discovered, that regardless of media, there was a substantial influence of the movie on the emotional state of the participant's mood. Moreover, compared to the traditional 2D-movie, the VR movie led to more consistent and robust positive effect on all aspects of self-rated affect. The difference in self-reported mood was corroborated by reduced EEG amplitudes in the beta frequency band, indicating higher levels of positive affectivity, which was only observed for the VR movie. Lastly, the VR movie also leads to overall higher self-rated immersion and engagement than the 2D version. Our results highlight the potential of VR movies to engage and emotionally affect audiences beyond traditional cinema. Moreover, our study highlights the value of using a multidisciplinary method for analysing audience impacts. [ABSTRACT FROM AUTHOR]

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

This article makes a structuralist cinematographic analysis of Aro Tolbukhin. In the murderer’s mind (Zimmermann, Racine & Villaronga, 2002). In the first place, we will locate and enumerate the topics that the work deals with (what it says). Secondly, the way in which said content is expressed at the enunciative-cinematic level (how he says it) will be explained: maternal love, its influence on the psyche and violence as a sculptor of childhood are some of the topics called for in the narration, which fit perfectly with the rest of Villaronga’s cinema. [ABSTRACT FROM AUTHOR]

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

This article extends the work of existing studies on the development of learners to be ethical leaders in Africa. It makes a case for the use of film as an andragogical tool in the education of adult learners in Africa. Premised on social learning theory, the paper proposes that film, as an audio-visual case study that offers a cinematic experience, accommodates students' varying learning styles. It is found to be resourceful in the dissemination of ideas or knowledge of particularly recommended subjects such as leadership and ethics. Purely based on secondary data, key themes uncovering the challenges and prospects of using film, especially in Nigeria are discussed. In addition to the systematic literature review results showing a poor trend of film usage in Africa higher education settings, a strong case was made for the use of film analysis given its practical relevance, components, and benefits. Beyond achieving the set objectives, a key contribution is the proposition for an enhanced reflective practice to accentuate the third phase of social learning theory and promote experiential learning which is more engaging for students. Future studies can gather primary data to explore how film is used in African business schools and evaluate its impact on adult learners. [ABSTRACT FROM AUTHOR]

Bu araştırmada Dehşet Yönetimi Kuramı ve kuramın kavramlarını film analizi yöntemi ile incelemek ve somutlaştırmak amaçlanmıştır. İnsanı diğer canlılardan ayıran eşsiz entelektüel yetenekleri belli bir oranda doğaya hâkim olmasını, hayatını daha konforlu hale getirmek için buluşlar gerçekleştirmesini ve icatlar yapmasını sağlar. Diğer taraftan bu üstün entelektüel yetenekleri insanın ölümlü bir varlık olduğunu fark etmesine de neden olur. İnsan, çeşitli yollarla ölümlülüğün oluşturduğu dehşet ile baş etmeye ve ölümü mümkün olduğunca uzak bir geleceğe ötelemeye çalışır. Ölüm farkındalığının yoğun olduğu ortamlardan biri savaştır. Bu araştırmada bir savaş biyografisi olan Roman Polonski’nin yönetmenliğini yaptığı “Piyanist” filmi Dehşet Yönetimi Kuramı’nın kavramları açısından analiz edilmiştir. Çalışmada nitel araştırma desenlerinden doküman analizi yöntemi kullanılmıştır. “Piyanist” filminin bazı sahneleri belirlenerek, bu sahnelerde yaşananlar kuramın ölümlülük bilinci, ölüm düşüncesinin erişilebilirliği, ölüm kaygısı tamponu, kültürel dünya görüşü, benlik saygısı, yakın ilişkiler, romantik ilişki, iç grup yanlılığı, dış grup düşmanlığı, sembolik ölümsüzlük, gerçek ölümsüzlük, yakınsak ve ıraksak savunma kavramları açısından incelenerek somutlaştırılmaya çalışılmıştır.

This paper is an in-depth analysis of the Chinese movie Coming Home (2014), which mimics the way trauma works and brings the problem of memory into focus. I draw on a psychoanalytic perspective to interpret the storyline, characters, and metaphoric meaning embedded in the construction of the film. My analysis focuses on three symptoms displayed: forgetting, repetition, and historical void. As the most successful Cultural Revolution-related film in the Chinese-speaking world, Coming Home confronts the phenomenon of cultural amnesia and visualizes the subjective experience of struggling to remember. [ABSTRACT FROM AUTHOR]

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

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

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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.)

Through a detailed description and analysis of Il sorpasso by Dino Risi (1962), one of the most popular films of the “Italian comedy of the boom years” genre, my study explores the notion of mobility in the Italian society of the economic boom years (1958-1963). In those years, the car worked as the engine of the economic prosperity, which was first set in motion and then fueled by the car factories of the North of Italy, and because it was one of the first products to be mass-produced, it also served as the image of the first Italian consumer-driven society. This is probably the reason why a car, the Lancia “America”, is at the center of the film narrative. First, I address the issue of the transposition from Italian into French, Spanish and English of the film title to highlight what themes of the film narrative are foregrounded by the recreation of the title for different cultures. Then, starting from the original Italian title, Il sorpasso –a far richer and more complex title than any of its transpositions in other languages—I investigate the different meanings of “mobility” conveyed by the film to demonstrate that the contrast between the fast-paced but purposeful camerawork and the main character’s frantic and aimless driving creates a visual representation of the struggle to adjust to the rapid process of cultural and social transformation of the late 1950s and early 1960s many Italians experienced.

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

Copyright of Escena: Revista de las Artes is the property of ESCENA. Revista de las Artes 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 Endoxa 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.)

Disability is not a subject that is often covered in contemporary Lebanese cinema, despite a few initiatives taking place in the past decade. This article analyses the representations of characters with disabilities in four Lebanese films: Ghadi (2013), Bébé (2013), Rabih or Tramontane (2016), and By Chance or Bel Sodfé (2019). The study reveals that these films oscillate between critiquing societal norms and state policies, covering the disability from a medical standpoint, and normalizing disability. Additionally, the films underscore the significant role played by families in caring for disabled individuals in Lebanon. The study also highlights how the portrayal of disability was exaggerated when played by able-bodied actors but was more understated and sometimes excessively normalized when the actors had real-life disabilities. Finally, the article argues that taking intersectional identity into account can lead to more nuanced and diverse conclusions about the representation of disability in Lebanese cinema. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi 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.)