Feature Films Research Articles

Meaning The Mythic Symbols Of Beliefs Of The Sea Island Communities Of South Kalimantan In Film Saranjana: Ghaib City Works Of Johansyah Jumberan

Myths are closely related to local culture in Indonesia. Saranjana City, known as the unseen city, is on Laut Island, South Kalimantan. This city is famous for its myths which are legendary for the people of the region. There are several myths depicted with symbols that can only be understood by the people of the South Kalimantan Sea Island region. The legend of the myth of the city of Saranjana made a film director create it in the form of a feature film in the horror genre. The aim of this research is to describe the meaning of the cultural myth symbols of the people of Laut Island, South Kalimantan in the film Saranjana: Kota Ghaib by Johansyah Jumberan using Roland Barthes' semiotic concept. This research uses qualitative research, with descriptive methods and a phenomenological interpretative approach. The data in this research are symbols in the form of narratives, dialogues, monologues, pictures, scenes from the film Saranjana: Kota Ghaib by Johansyah Jumberan which contains local cultural myths. The results of the research show that there are several myths such as the use of traditional clothes, yellow cloth, mandau and mosquito nets which show symbols believed by the people of Laut Island, South Kalimantan.

Anthropology of proverbs in the feature film genre: An appraisal of Isakaba 1&2

Anthropology of proverbs in the feature film genre: An appraisal of Isakaba 1&2

AUTHENTIC VIDEO IN TEACHING UKRAINIAN AS A FOREIGN LANGUAGE

In the article, the author analyses the scientific achievements of Ukrainian linguodidactics in the field of theoretical and practical comprehension of working with authentic audiovisual materials as an additional teaching source in the study of foreign language. Numerous publications by Ukrainian scholars on this topic (from the early 2000s to the present day) are divided into 3 groups. The first group of articles focuses on the general issues of using the audiovisual method in the process of developing foreign language communicative competence. The second group of studies includes articles reviewing the most frequent “audiovisual practices” in the course of UFL. The third group of articles is in-depth research on working with certain genres of authentic video for foreign audiences. The range of genres of authentic video products that can be used for educational purposes in the process of mastering UFL is outlined. These include feature films, documentaries, animated films, informative and entertaining TV programmes (news release, video interviews, academic lectures, video presentations, virtual tours of museums and cities of Ukraine, video blogs, TV shows, stand-up comedy, etc.), video messages from public figures, advertising blocks, trailers, music videos, etc. It is emphasized that among the above, Ukrainian methodologists pay the most attention to films of various genres (primarily short films). The article highlights the key issues that Ukrainian film didactics is working on. The article analyses the scientific studies of Ukrainian methodologists on the use of other genres of authentic video for linguodidactic purposes – video interviews, song videos, commercials, virtual tours, professional videos, etc. The author presents her own comments on the stated topic and outlines issues for the future. It is emphasised that working with authentic video requires the teacher to understand the specific purpose of its use in the classroom, knowledge of the repertoire of Ukrainian authentic material and its linguistic and didactic potential, and special methodological study for presentation in a foreign language audience. Key words: authentic video, genre, listening, Ukrainian as a foreign language, linguodidactics.

The Sociocultural Context and the Main Developing Stages of Family Education in Russian Feature Films

The Sociocultural Context and the Main Developing Stages of Family Education in Russian Feature Films

The Political and Ideological Contexts of the Family Image and Family Education in Russian Post-Soviet and Contemporary Feature Films

The Political and Ideological Contexts of the Family Image and Family Education in Russian Post-Soviet and Contemporary Feature Films

Трансляция эмоций в аудиодескрипции к немецкоязычным детским анимационным фильмам

The aim of the study is to identify linguistic means and methods for representing emotions in specialized sound descriptions and commentaries (audio descriptions) intended for blind and visually impaired recipients and accompanying feature films. The article examines the features of a children’s ani-mated fairy tale film as a cinematographic genre. Considerable attention is paid to the characteristics of the film text as a semiotic system in which emotional meanings are formed at the verbal and non-verbal level. The scientific novelty of the study is due to the systematization of linguistic means that manifest basic emotions in the German-language audio description to the children’s animated film adaptation. As a result of the study, it was found that the transformation of visual emotional information into verbal information in the audio description text is based on the use of simple syntactic constructions, the models “verb + adjective”, “verb + adverb of manner”, “verb + participle”, as well as the use of phraseological units, colloquial expressions, similes and epithets, which is due to the age and sensory characteristics of young recipients with visual impairment, and serves to facilitate the perception of the transmitted information.

Contemporary Slavery and Inequality in Brazil Pureza’s Complaint and Struggle

This article briefly presents the feature film Pureza, which is based on a true story, to help analyse the contemporary forms of slavery in Brazil that reveal the permanent movements of capital expropriation, noticeable in the exploitation and oppression of a race-based labour force characterized by patriarchy, that migrates in order to survive. In this sense, we examine regional inequalities, social polarization and the particular aspects of the Brazilian social formation for the discussion of contemporary slavery, which is seen as the most visible expression of superexploitation, as well as the result of the reinvention of hybrid forms of exploitation of the labour force.

Objects of the Mind: using film to explore the entangled histories of media and mental health

This article presents the findings of an Arts and Humanities Research Council (AHRC) project, Objects of the Mind: engaging publics in the material cultures of media and mental health (AH/W002140/1), which was co-investigated by academics at the University of East Anglia and the University of Manchester and curators from across the Science Museum Group (SMG). Through this co-investigation we sought to tap into public interest in the SMG object collections and the accessibility of popular films (supplied by partners StudioCanal) to engage new audiences for our research on the interactions of psychiatry and cinema. From the museum perspective, we sought to use this research to ask new questions and tell new stories about the SMG objects, and to foster cross-collection dialogue between medicine (Science Museum) and media (National Science and Media Museum) collections. We discuss a range of events, activities and outputs we delivered towards these aims, but focus particularly on three new films we produced that (re)combined museum objects, feature film clips and expert interviews to tell new, enhanced or entangled stories about and across the collections. We will use these three short films to demonstrate three dialogues the project fostered: between museum collections; between histories; and between academic disciplines.

Space in the “DAU” project (dir. Ilya Khrzhanovsky). Contexts

The article is devoted to the analysis of space in the “DAU” project, directed by Ilya Khrzhanovsky in cooperation with Yekaterina Oertel, Alexei Slyusarchuk and Ilya Permakov, among others. Feature films and documentaries that constitute the project were shot in the years 2009–2012, mainly in Kharkiv, in a closed scientific institute, built exclusively for this purpose. The aim of the article is to examine selected spatial solutions in the project, to contextualize them, and, consequently, to link the film architecture with the behavioral sphere and the corporeality of the characters. The methodological tool, supporting the research of the text, is the category of the underground, embedded in the work Notes from the Underground by Fyodor Dostoyevsky. In the process of interpretation, the author draws attention to the connections between the mechanisms of oppression functioning in the totalitarian system and the symbolic language of the body and architecture.

Behind–the–scenes: Aspects of a film reception. The case of The Independence of Romania (Aristide Demetriade, Grigore Brezeanu, 1912) and The Rest is Silence (Nae Caranfil, 2007)

The foreign reader and viewer can find nothing better -or faster, given the exigencies of modern life- than the film as an introduction to the character, history, identity of a nation. With the awards garnered by directors like Cristian Mungiu and Nae Caranfil, new interest has been focused on Romania’s film, community, and history. That is why, an investigation regarding the Romanian early cinema would be necessary in the field of improving education from abroad. The purpose of this paper is to analyze a number of aspects, such as the importance of incorporating a course on cinema in foreign language teaching, one of the major goals being the opportunity to educate the students in the field of movies and thus offering them distinct cultural perspectives. However, this article does not plea for the need of a pedagogy of media studies in higher education, given the complexity of the topic. It rather aims to focus on the history of two Romanian movies: The Independence of Romania (1912) and The Rest is Silence (2007) and highlight the reasons why an urban icon of the city of Tampere is called “Plevna”. This paper sets out to analyze the two mentioned Romanian films who proved to be interesting for Finnish students since they depict an episode of our common history, the 1877 War of Independence (The Russo-Turkish War). At the same time, the paper aims to familiarize them with the allure of the event when Romanian and Finnish soldiers fought shoulder to shoulder on the same front, at Plevna. The Romanian film, The Independence of Romania shot in 1911-1912, was the first feature film to be kept almost entirely in the Romanian National Film Archive; the other one, The Rest Is Silence directed by Nae Caranfil (and representing Romania’s first entry into the 2009 Oscars) and inspired by The Independence of Romania wanted to show the real story of our first full-length filmmaking. Therefore, this latter film contains like a palimpsest an older mute movie, discovered in Romanian Movie Archive. The current article draws upon the insights provided by the Finnish students after watching the two films and summarizes their conclusions. In other words, these lines provide a behind-the-scenes glimpse of what they learned and discovered. The films were met with positive reviews, and we tried to follow the students’ spontaneous reactions and emotions. An important part of our work was to put in perspective the two inspiring patriotic marches which are commemorating the departure of the Romanian and Finnish soldiers at Plevna in the Balkan’s theater of War: Drum bun! (farewell song composed by Ştefan Nosievich to the lyrics of Romanian patriot Vasile Alecsandri) and Kauan on Kärsitty / Long have suffered, a well-known patriotic song of the Finnish Guard (Suomen kaarti). This article tangentially discusses the role of perception in educational activity, which is presented under two correlated aspects, namely: the activity carried out in this sense by the teacher and by the students and the role of cinema in creating cultural memory from a general perspective, in a way that transforms the manner we think of film and its social importance. This article starts from a very particular point of view, as we discovered by pure chance the name of Plevna building in Tampere, and goes to a more general aspect, which is the battle of Plevna, one of the most important episodes from Romania’s modern history.

Oceanic feeling in Mati Diop’s Atlantique

ABSTRACT The ocean is a constant presence in Mati Diop’s award-winning film Atlantique/Atlantics (2019), a ghostly love story about the ongoing migration crisis set in Dakar, Senegal. A critical issue Diop explores in this film is the contradiction between the geopolitical stasis of a high-rise tower and the expansive continuity of the sea, making the physical reality captured by the lens overlap with the unrestricted flow of presences carried by waves of sea and sound through the film frame. This article analyses oceanic aesthetics and the unrestricted flows of bodies of water and work in both Diop’s recent feature film and her first experimental documentary of almost the same title, Atlantiques/Atlantics (2009). These corporeal drifts disrupt narrative and temporal flows and position the cinema as a space for poetic and political change. What the ocean embodies is not only a tragic archive of colonial violence, as Rosalind Galt has recently argued, but also a space for a feminist and decolonial refusal of such loss.

Features of Atheistic Discourse in the Cinema of ‘‘Militant Atheism’’ of the 1920s

The article examines the specific features of Soviet anti-religious films of the 1920s from the first propaganda campaigns to full-length feature films. The real persecution of the Church and believers was beyond the attention of filmmakers. The core purpose of such films was a full-scale defamation of the Russian Orthodox Church, its ministers and parishioners. This kind of cinema was the mainstream of militant atheism, aimed at exterminating Christianity. The author focuses primarily on little-studied films from the collection of the National Film Archive.

Представления юношей и девушек о будущем, раскрытые через художественный образ взросления

<p>The results of a study aimed at studying the ideas of growing up and the future in adolescents, boys and girls, are shown. The main purpose of the study was to identify the connection between life events that are significant for young people and their ideas about growing up, which is shown through the image of growing up in a feature film. The hypothesis was based on the assumption that the significance of life events in ideas about the future of boys/girls differs depending on the ideas of growing up based on the assessment of an artistic image. In total, the sample consisted of 1394 adolescents and young people aged 14 to 23 years (M=17; SD=2). Statistically significant differences were revealed in the ideas about the future of adolescents, boys and girls, with different types of ideas about growing up, revealed through an artistic image. Respondents who differ in the type of ideas about growing up show differences in the perspective of the future in relation to events related to "other people", "ideal objects" and the time period of the "open present". It was also found that there are differences in the significance of life events related to education, professional activity and communication among young people with different types of ideas about growing up based on an artistic image. These results may be useful for understanding the differences in the motivation of young people and for developing support and orientation programs in the process of growing up.</p>

Cinemeducation to teach patient safety: an experience in medical students

From early in medical school, students need to learn about patient safety, and how to prevent and reduce risks, errors and harm that occur to patients during health care provision. Cinemeducation is a teaching methodology that uses fragments of feature films or TV series in medical education. We hypothesized that cinemeducation could help simplify the comprehension of complex situations for students, aiding in the learning of patient safety and the understanding of human behaviors that impact it. This concept stands as an integral component within a comprehensive medical humanities approach. The study population was the 70 medical students of the second course of a six-year undergraduate program. In a 2-h class, after learning objectives were established, students watched a fragment from TV series The Resident centered on adverse events, and discussed them afterward. To measure learning achievements, we administered a 10-question multiple-choice pre and post-test and a 2-question open-essay post-test. Given the complexity of the concepts related to patient safety, we used a mixed quali-quantitative approach. An exploratory descriptive and content analysis was performed. Sixty-eight students participated and completed the questionnaires. Despite high pre-intervention scores, post-intervention scores improved (mean difference 0.779, 95% CI: 0.475–1.083, p < 0.001). The open-essay questions provided more information about the learning points, mostly related to the understanding of system error and preventive measures against adverse events. Classical teaching methods may be insufficient for learning how to deal with complex situations in hospital contexts. Our results show that cinemeducation may significantly improve learning on patient safety. Cinemeducation methodology can be effective in teaching some complex concepts in medical education. The integration of cinemeducation within medical education, through the lens of medical humanities, offers a dynamic approach to teaching patient safety. By using cinematic narratives to explore intricate medical scenarios, students engage with real-world complexities and the influence of human factor, enhancing their understanding.

AUTHOR`S APPROACHES TO DEPICTING THE PROTAGONIST`S CHARACTER THROUGH THE PRINCIPLES OF EXPOSITION IN FEATURE FILMS

The article examines the author's approaches to the construction of drama used in the presentation of plot events in the first act of feature films. The main subject of the study is the principles of building exposition in feature films as an author's approach to portraying the protagonist's character. The purpose of the study is to outline the approaches to the construction of the first act of a feature film according to the degree of authenticity of the protagonist's character portrayed by the author. The research methodology is based on the search method (for collecting information on the chosen topic), the deductive method (for identifying certain stylistic features of films and principles of the first act), the comparative method (for identifying the peculiarities of the author's methods of constructing expositions) and the method of generalisation (for writing conclusions). The results and conclusions of the work are the allocation of approaches to the construction of the exposition (first act) depending on the degree of naturalism of the protagonist's character. The author's desire to build the exposition depending on the catalyst problem narrows the range of manifestations of the protagonist's individual characteristics, which creates a certain "artificiality" of the character. In contrast to this approach, authors build characters through the depiction of the protagonist's relationships with other characters or through a detailed depiction of the protagonists' circumstances. These conclusions help to outline an approach to building a naturalistic protagonist character in the first act (exposition) of a feature film and its further development throughout the story.Key words: first act, exposition, feature film style, protagonist character, drama.

Church, Clergy and Religion in the Contemporary Polish Film Discourse in the Years 1968–1990

The paper attempts to discuss the image of clergy members and the Christian religion in the contemporary cinematography of the last two decades of People’s Poland. It discusses the representation of priests, monks, nuns, religious ceremonies and Christian traditions in Polish feature films. The theme of God and supernatural phenomena are discussed separately, as the mysticism exemplified by Krzysztof Zanussi’s films.

Building a Feminist and Activist Archive

Eskalera Karakola (EKKA) is a feminist self-organized social center in Madrid, Spain. The project has been compiling their own archive of audiovisual materials. There are mostly two kinds of material in its shelves: first, about one hundred VHS and DVD copies of short films and feature films, and second, close to seventy miniDVs documenting meetings, demonstrations, workshops, actions, roundtables and also interviews with activists. The recordings are mostly about feminism and lesbianism themes but also about migrant activism, neighborhood movements in Lavapiés, and some international events. At this moment, some of the activists involved in the Eskalera Karakola have created a group, to decide what to do with this material. This article wants to participate in and document the debates, reflections, and discussions around this archiving process, analyzing every step of the way and all the challenges and opportunities.

READING TRADITIONAL JAPANESE ARCHITECTURE THROUGH HAYAO MIYAZAKI CINEMA

Houses, which are the best-known examples of traditional architecture, are cultural heritage products and objects of representation. Traditional Japanese houses have continued their existence as living examples of space organization, materials and building-construction system/technique, preserving their originality and qualities. This study aims to interpret this architecture through the traditional Japanese architecture in Hayao Miyazaki's animated films. The main problem of the study is to obtain information about the cultures of societies through television and cinema products, to keep traditional architecture alive and to ensure its sustainability. By examining Miyazaki's animated films, the sample of the study was limited to 12 feature films or short films. In these films, those determined to be about traditional Japanese architecture are grouped as building elements, spaces, interior elements and accessories. In some of the films examined within the scope of the study, there are elements of traditional Japanese architecture in a single building, some in two or three buildings, and in some of the silhouettes of the settlement. It has been seen that the wall (kaaba) and roof (koyagumi) of the elements that make up the structure are more used than the ceiling (tenjo), and it is common in the board to use a floor (yuka) material. Life (doma), living room (ima), room (heya) and veranda (engawa) in traditional Japanese houses are more prominent than the kitchen (floor) and bathroom (furo) in the houses in the movies. Sliding wall (fusuma), sliding paper door/window (shoji) and shoe removal board/stone (kutsungi) from interior elements in homes and public spaces; tables (chabudai), cushions (zabuton) and wicker ground cover (tatami) are the most used items.

“Something to Fall Through”: Grid Forms in The Adventure of Faustus Bidgood (1986)

Abstract: This article revisits Mike and Andy Jones’ 1986 feature film The Adventure of Faustus Bidgood, a landmark Newfoundland film that has appeared in too few accounts of Canadian cinema besides Darrell Varga’s groundbreaking treatise on Atlantic Canadian regional cinema, to analyze its pervasive use of grid forms, themes, and metaphors. It discusses the grid’s significance in the film beyond grid-reality, a theory that Faustus’s boss, Fred-Bonia Coombes, develops after seeing an expansive grid suspended in the sky when a friend gets fatally struck by a falling bag of frozen soup. In dialogue with writings on the grid as a form by thinkers such as Eugenie Brinkema and Rosalind Krauss, it examines the film’s graphic grids and metaphors—windows, chain-link fences, ceiling tiles, crosses, modernist architecture, television monitors, and a grape seed catcher—as crucial meeting points for structure and contingency. In doing so, this article not only makes an argument for the film’s historical or political importance for a culturally modernizing province or the Newfoundland Renaissance but also offers an in-depth reading of the film that argues for its historiographic and theoretical importance as a film that formally engages with questions of structure and contingency and cinema’s role therein.

Research on the Symbolic Meaning of White Cranes — A Case Study of Fly with the Crane

Fly with the Crane is a feature film directed by Chinese filmmaker Li Ruijun in 2012, adapted from the short story of the same name by Su Tong. Set against a family backdrop, the film explores the emotional conflicts and collisions of life philosophies between the elderly and their family members when facing life and death decisions. Cranes play a significant symbolic role in the film, reflecting the characters’ inner emotions and their different understandings of life, death, and destiny. From the crane pattern on the coffin to the real white cranes in the film, and to the crane in the heart of the protagonist, five types of white cranes present different layers of symbolic meanings, enriching the depth and connotation of the film. At the same time, the film also reflects the current reality of scarce land resources, conflicts in resource allocation, and changes in people’s consciousness, indicating that the “crane culture” may gradually disappear.