Narrative Film Research Articles

HOUSE OF DREAMS, OR NOT

In this paper, we will discuss the role of the built environment as storytelling in the context of Oscar winner Parasite, a film by director Bong Joon-Ho (2019). We will look at the potentiality of the built environment in unveiling film narratives, especially regarding immanent forms of class struggle and exploitation in everyday life. We will investigate the troubling power relations between the rich and the poor in contemporary society and the ways that the concepts of alienation/estrangement, objectification/reification and commodity fetishism can be used to bring these relations to the fore when analyzing the movie. Keywords: Parasite; built environment; inequality; class struggle; alienation; everyday life.

A lens into the everyday: visual ethnographies and making a multi-storied film in North-eastern Sri Lanka

Film and visual methods have increasingly become significant focus areas of International Relations (IR) and feminist research. Feminist filmmakers have put particular emphasis on co-production and participatory filmmaking as more symmetrical approaches to research, which can provide visibility for marginalized voices and can challenge dominant perceptions. In this article, I reflect on my experience of making Hidden Voices, an eighty-minute documentary film about everyday experiences of living with disappearances in North-eastern Sri Lanka and the complex ways in which individuals and communities navigate legacies of violence and recovery. I emphasize the ethnographic value of film in bringing out the less visible relational and embodied everyday. As part of this, I discuss film as a type of ‘tour’, which can open opportunities for self-direction from participants and can offer a unique affective medium and way of seeing. While some present film narratives as a ‘microcosm’ of specific local experiences, I used Hidden Voices to explore diverse experiences and at times diverging standpoints. I also highlight the ongoing dialogical and didactic social value of film. While visual methods can be powerful tools for ethnographic research, I also discuss ethical and epistemological tensions inherent in making a research-based film.

Is God a Woman? Female Faces of God in Contemporary Cinema

Film, as a medium, serves not only as a significant source of entertainment but also as a powerful instrument in shaping attitudes, beliefs, behaviours, social norms, and identities. Since its inception, cinematic art has been closely intertwined with religious themes, with many film narratives drawing implicitly or explicitly from biblical texts and religious traditions. Consequently, theologians and ecclesiastical authorities were quick to identify film as a potential locus theologicus. Given film’s ability to spark debates on deeply ingrained views and beliefs, feminist theology, which critically reflects on gender power relations within religious communities and theological texts, finds it intriguing to explore how cinematic narratives can challenge the millennia-old depiction of God as a man. This article aims to examine how the art of cinema contributes to theological reflections on the female metaphors of God, particularly through female Christ-figures and God-figures, which occasionally appear in films such as Chocolat, All That Jazz, Always, Dogma, and The Shack. These characters defy traditional religious language, which often employs masculine imagery and metaphors for God, portraying female God as an independent chocolatier, a single mother, an elegant hairdresser, a beautiful young seductress, a curvaceous African American bread maker, and a witty, clownish girl. In these cinematic depictions, female God is compassionate, empathetic, kind, witty, forgiving, and profoundly in love with her human creations. At the same time, all of these female characters are powerful, assertive, strong, and self-confident.

Backroads into buried pasts: Irish border mobilities and narrative film

ABSTRACT Because of the Irish border’s troubled history and heightened symbolism, filmmakers have since long relied on the border as a setting to thematise issues of national identity, belonging, and trauma. Departing from the concept of border poetics this article takes films featuring the border between the Republic of Ireland and Northern Ireland as its topic of inquiry. Beyond compiling a border film archive in which all cinematic representation of the Irish border is collected, a close reading is conducted of border mobilities in a sample of 43 narrative fiction films (1937–2021). The article’s textual analysis makes the distinction between three border mobilities (1) border crossing, (2) border inhabiting, and (3) border (re)visiting, to investigate how filmmakers utilise the Irish border for various narrative, formal, and ideological ends. As such, the border’s cinematic legacy can be better understood.

Analysis of Psychological Issues in Me Before You

This study examined the psychological issues and how they affect the behaviors of the protagonists Will and Louisa in the movie Me Before You and their decision-making processes. The research employed a qualitative descriptive approach and incorporated Sigmund Freud's psychoanalytic theory to analyze the film's narrative. Freud's concepts of the id, ego, and superego provide insights into the underlying motivations driving the characters' actions. The findings revealed that Will's struggles with depression, loss of identity, and desire for autonomy drive his decision for assisted suicide while Louisa faces her own challenges with fear of change and societal pressures. The study concluded that experiencing accidents and depression could lead to risky behavior, while highlighting the importance of companionship and understanding, and emphasizing the role of psychological factors in decision-making. Applying Sigmund Freud's psychoanalytic concepts of id, ego, and superego to the protagonists, Will Traynor and Louisa Clark, offers valuable insights into their psychological struggles, enriching the narrative and enhancing its relatability for readers. Future research should explore the ethical implications of assisted suicide, the impact of social isolation on mental health, and the role of humor in caregiving relationships. This will contribute to a deeper understanding of human behavior in challenging circumstances.

How to speak destinations more efficiently: a study on the effects of narration in tourism films on viewer perceptions and intentions

ABSTRACT In an age where visual media serves as a pivotal channel for information dissemination, this study examines the effects of varied narrations on viewers’ perception of destination images (DI) and their travel intentions (TI), utilizing Speech Act Theory (SAT) as a theoretical framework. We adopted a sequential mixed-methods research design, with a three-staged approach. In stage one, we gathered and categorized the narrations, using them to create narration exemplars for the experiments. In the second stage, we conducted a quantitative survey to validate our research hypotheses. Building on the results from stage two, stage three incorporated semi-structured interviews to further elucidate the findings. Our research indicates that viewer responses significantly differ across various narration styles. Specifically, representative narration was found to enhance viewers’ perception of destination images more effectively. However, both commissive and expressive narrations were more successful in stimulating viewers’TI, evoking feelings of pleasure, uniqueness, and connection.

Reconsidering mood and narrative cinema

Reconsidering mood and narrative cinema

The poster boys of aspirational labor: parables of success and failure in The Viral Fever’s web shows

Abstract Aspirational labor has been understood by scholars based in the Global North to encapsulate a form of labor undertaken by social media content creators that is mostly uncompensated for, but is, nonetheless, integral to the functioning of its economy. While this dominant theorization of aspirational labor is sometimes helpful for explaining the precarity of digital media labor in countries of the Global South, its uncritical application could also be severely limiting. I undertake a close textual analysis of select web shows created by the entertainment brand and YouTube content creators The Viral Fever (TVF) to demonstrate how it would be imprecise to see them as just victims of an exploitative economy. My article shows how TVF web shows consistently imagine elaborate cinematic narratives that valorize and embody the neoliberal values of aspiration and individual growth that in turn is complicit in the machinations of platform economy’s extractive affordances.

Sports Narratives and Historical Nationalism: Re-Visiting the Context and Use of Field Hockey in Chak De! India

Indian cinema is known for its dramatic narratives that celebrate emotionally elevated visual spectacles through which people from different sociocultural backgrounds come across popular domains of cultural practices, social norms and historical realities that unify them. Field hockey belongs to the popular realm of sports in India which is part of the country’s national identity. India’s participation and success in field hockey at the Olympic Games make it one of the country’s most successful international sports. Indian film narratives about field hockey help to create public discourse about how the sport has historically played a role in shaping national pride and identity in India. Hockey evokes nationalism by symbolizing historical achievements, unity, and cultural identity, inspiring pride and patriotism through the portrayal of heroes, national symbols, and emotional narratives in media and public discourse. The film Chak De! India portrays Indian hockey as a patriotic unifying national narrative and as an empowering discourse that can upend traditional gender stereotypes. It delineates that hockey not only acts as a sports game for entertainment but is an indicator of nationalistic significance and cultural identity that elevates the emotional realm of Indians through the notion of patriotism.

Scene Deconstruction and Plot Setting of a Silent Film

This study dissects Chaplin's method of conveying a story through visuals in his 1921 silent movie, 'The Kid,' emphasizing scene analysis and plot introduction. A detailed discussion of sequences allows the research to illustrate how Chaplin makes meaning, creates a narrative, and establishes emotion solely through visual motion without words. The study uses several theoretical approaches, including film semiotics, narrative theory, and visual composition analysis. This paper examines how Chaplin employs framing, editing, mise-en-scène, and physical comedy to construct a highly symbolic and emotionally rich picture. Special emphasis should be placed on how Chaplin uses both comic and dramatic scenes hand in hand, sometimes even in the same scenes. Key sequences analyzed include the opening scene, which efficiently introduces the main character and presents the setting; the separation scene, an emotionally charged sequence of a man being left by his wife; and the dream sequence, a fantastic sequence in which Chaplin breaks the laws of practical reality to develop character psychology and depth of themes. The paper also explores how Chaplin develops visual motifs and employs repeated actions to unify the narrative and chart the character's growth. Moreover, it discusses how the film's visual analysis and symbolism respond to early twentieth-century social concerns such as poverty and the position of children. As such, this research is pertinent to exploring the silent film narrative and its legacy through analyzing Chaplin's visual strategies. 'The Kid' illustrates that this was the pinnacle of the silent film genre and how complex narrative and character development can be conveyed without using words. Moreover, this research reveals Chaplin's creative processes. It contributes to understanding the potential of visual narrative in Cinema, proving the significance of the silent film language in developing film language.

Investigating the Effects of Cinematic Content on Psychological Attitudes towards Social Issues

Cinematic content plays a crucial role in shaping and reflecting societal attitudes, offering powerful narratives that can influence public perceptions of social issues. This study explores the impact of cinematic content on psychological attitudes towards social issues among college students. A sample of 150 students was divided into two groups: Group A (80 students) impacted the positive attitude while Group B (70 students) served as the control group with negative attitude. This study aimed to assess how cinematic narratives affect attitudes and perceptions of social issues. Statistical methods employed included t-tests to compare attitudes between groups, one-way ANOVA for with-group variations, chi-square tests for categorical relationships, and pre-post tests to measure changes in attitudes. The findings highlight the significant role of cinematic content in shaping the attitudes towards social issues, emphasizing the importance of understanding how films influence public opinion and societal norms. This analysis provides insights into the effectiveness of cinematic portrayals in driving the positive social change and informs content creators on leveraging media for educational and advocacy purposes.

BEDAWANG NALA: ARTISTIC INSPIRATION FOR A FICTION FILM TO STRENGTHEN ENVIRONMENTAL EDUCATION AWARENESS

This research explores the philosophical and symbolic value of Bedawang Nala in Balinese architectural art and the development of its narrative in fiction films based on Hindu mythology. Bedawang Nala, depicted as a giant fire-haired turtle with dragons Anantabhoga and Basuki, reflects cosmic balance and natural harmony in Tri Hita Karana. This qualitative research uses an interdisciplinary perspective involving the views of cultural studies and the creativity of film art creation. Data was obtained through in-depth interviews to explore the meaning and connection of the Bedawang Nala concept with environmental themes, audiovisual observations of traditional Balinese architecture, and literature studies on Bedawang Nala and ecological issues. Data were analyzed using interview transcript interpretation techniques to identify main themes related to the philosophical and symbolic values of Bedawang Nala, audiovisual analysis, and literature synthesis that connects findings from interviews and observations with current discussions about ecological education. The findings show that the Bedawang Nala mythology is not just an aesthetic ornament but has an educational value relevant to contemporary environmental issues. The development of this mythology-based film narrative can be an effective academic and cultural reflection tool, strengthening ecological awareness in society. This research suggests making and evaluating films based on Bedawang Nala and exploring other local mythologies to increase the educational impact and environmental awareness through film media.

Portrayal of Sexually Transmitted Infections in Popular Films.

Stigmatization of sexually transmitted infections (STIs) threatens provider-patient relationships and contributes to the underutilization of STI services. Media can shape public attitudes toward healthcare topics by perpetuating or reducing stigma. Given the high prevalence of STIs and the widespread consumption of media, it is essential for healthcare providers to be cognizant of factors influencing societal perceptions of STI symptoms, transmission, diagnosis, and treatment. This study is a scoping review of popular films depicting STIs. Full-length English-language narrative films featuring characters with confirmed or suspected STIs were included. Descriptive statistics were used to determine the proportion of characters accurately portrayed with STI symptoms, transmission, diagnosis, and treatment. The final analysis comprised 128 characters from 77 films, with human immunodeficiency virus (HIV) being the most frequently featured STI (42 films, 54.5%). The overall accuracy across all four clinical variables of symptoms, transmission, diagnosis, and treatment was 87.4%. Transmission was the most depicted clinical variable, represented in 74 characters (57.8%). All four clinical variables were simultaneously depicted in only four (3.1%) characters, with two characters portraying all four clinical variables accurately. Death occurred in 39 characters (30.5%), with HIV accounting for the majority (82.1%). Most films accurately portrayed STI clinical variables, including symptoms, transmission, diagnosis, and treatment. Rates of individual variable depiction were inconsistent, while death secondary to STIs was common. Understanding the portrayal of STIs in popular films can provide valuable insights for clinicians, enabling them to effectively address patient misconceptions and knowledge gaps.

Future Narratives in Contemporary Fiction and Film: Challenging the Multiplicity of Alternative Possible Worlds

Future Narratives in Contemporary Fiction and Film: Challenging the Multiplicity of Alternative Possible Worlds

Myth and Cyber: A Study of the Narrative and Visual Language of Chinese Cyberpunk Anime Films

Abstract The cyberpunk genre started a new trend in Chinese anime movies after 2020, represented by the hugely commercially successful New Gods: Nezha Reborn (2021). Unlike Western cyberpunk, which focuses on portraying the future as a subcategory of science fiction, Chinese cyberpunk anime chooses to look back, fusing ancient myths with cyborgs, which is called myth-cyberpunk, reconstructing traditional Chinese culture, and broadening the boundaries of cyberpunk. This paper focuses on spatial construction and characterization in Chinese cyberpunk anime films. It traces the influence of Western cyberculture on Chinese animation and the uniqueness and local innovation of the Chinese side. Importantly, it examines the role of audience participation in the processes of cultural encoding and decoding, as proposed by Stuart Hall, to understand the dynamics behind the growing popularity of cyber animation in China. This paper aims to interpret the evolution of the cyberpunk style in Chinese animations, its reception, and its deeper societal motivations, offering insights into the unique allure of Chinese cyberpunk anime within the contemporary socio-cultural context.

Transmedia skill derived from the process of converting films into educational games with augmented reality and artificial intelligence

Transmedia skill, derived from the process of converting films into educational games using augmented reality and artificial intelligence, involves employing various languages and mediums to adapt an original narrative to another format. This transmedia practice presents an opportunity to cultivate diverse skills in teacher training by transforming film narratives into educational games with Augmented Reality (AR) and Artificial Intelligence (AI). Moreover, these educational games enable student engagement in missions or challenges, enhancing their engagement with educational activities. Thus, this research stems from an Innovation project implemented in the Degree in Early Childhood Education (N=77) with two groups of university students who developed 24 educational games in physical and digital formats. The objectives are: 1) to compare the transmedia process adopted by both groups when converting children's animation films into games, some in digital format and others combining physical and digital resources; and 2) to analyze their transmedia skill reflected in the games developed. The methodology adopted is non-experimental empirical, with a descriptive and comparative nature. Two instruments were designed and validated, one to analyze the transmedia process followed in each case and another to ascertain the level of transmedia skill of the university students. The results reveal that both groups chose different creative approaches to gamify the films, expanding their stories by leveraging the potential of AR and AI to create interactive characters and settings. From this, their transmedia capability could be inferred. Thus, the use of digital applications to collaboratively design games—utilizing film narratives—represented an innovation in their training, holistically enhancing various skills. In conclusion, this experience presents an opportunity to increase the transmedia skills of future educators.

Academic filmmaking and its discontents

Working with the same filmed material from the perspective of anthropology and screen studies, the authors discuss their disciplines’ different approaches to academic filmmaking. This article presents two videos, Filming Out Loud and Whose Stories, made from the same raw footage shot by the two authors together at the garage Cedric Motors, situated close to Manchester University, UK, where they were taking a summer course in ethnographic filmmaking at the Granada Centre for Visual Anthropology in June 2022. After spending seven days at the garage, filming the workdays of the owner Pat Rafter and his main employee (who wishes to remain unnamed), this raw material was then edited separately by each author. Producing points of methodological comparison between videographic criticism working with “an archive of moving images and sounds” (Keathley and Mittell 2019) and the culturally situated “encounters with alterity” enacted through ethnographic filmmaking (Cox et al. 2016), the authors engage with the methodological differences and commonalities between their two disciplines and filmmaking practices. By focusing on how the unpredictability of ethnographic fieldwork generated a rethinking of received conventions, interdisciplinary collaboration in visual research is here framed as an opportunity for a “transmutation of sensibilities” (Csordas 2007) bringing into question both videographic criticism’s imperative of critical thinking articulated audiovisually (generally on archival material) and visual anthropology’s observational legacy. Scraping at the weld between disciplinary received knowledge, the authors reflect on the positionality and ethics of their research and on the task of elaborating a filmic narrative while accounting for different social or cultural worlds

Documenting the air

The air sustains, connects and conditions our lives and has been of growing relevance to social scientists adopting an atmospheric approach to social life. Nonetheless, in screen studies, air’s critical uptake has so far been limited to narrative cinema, leaving it undertheorized in non-fiction filmmaking. In this paper, I introduce theories of the air that flow from the broader rise of atmospheric socio-aesthetic theories and suggest that it is possible to understand the air as an agent in the relationship between a filmmaker and their practice, and the film and its viewers. To make this argument, I first present a theoretical orientation to air as it is implicated in the non-fiction filmmaking process, before considering how the air has been understood in film scholarship, and how it has been taken as a subject of filmmakers working in experimental traditions. I then consider two bodies of non-fiction filmmaking through this aethereal lens. The first is Margaret Tait and her concept of ‘breathing’ with the camera, and the second is Arwa Aburawa and Turab Shah’s And Still, It Remains (2023). In these analyses, I argue that thinking aethereally allows us to consider the co-construction of documentarian, document and viewer.

Politik Identitas Bangka Belitung Dan Multikulturalisme Pada Film Laskar Pelangi

This research analyzes the representation of identity politics and multiculturalism in the film Laskar Pelangi which is adapted from the novel by Andrea Hirata. Using film analysis and literature research, this research identifies themes of identity politics and multiculturalism expressed in the film's narrative, dialogue and imagery. The research results show that identity politics in the film Laskar Pelangi is reflected through ethnic and religious diversity, unity in diversity, local Malay identity, the role of education as a unifying tool, economic and social disparities, as well as the influence of colonial and local history. Multiculturalism is described through ethnic diversity, friendship across identities, the use of diverse languages and dialects, diversity of celebrations and traditions, equality in education, tolerance of teachers, economic and social interactions, and diversity of family dynamics. This film provides a positive picture of how different identities can unite and become a driving force in achieving common goals through education and solidarity. Overall, Laskar Pelangi shows the importance of building an inclusive and dynamic society by respecting cultural diversity.

THEORY OF RECEPTION AND CRITICISM OF FILMS BASED ON THE RECEPTION AND CRITICISM OF THE FILM “ANNA KARENINA” (1997)

The word reception means the acceptance of foreign ideas, norms and values or behaviors. Reception history elaborates the reception that a literary text, a film, or in this case an adaptation of a novel, has found in its audience over time. This paper delves into the core concepts of film reception theory, shedding light on how audiences interpret and actively engage with cinematic narratives. The theoretical part includes different perspectives, recognizing that audience responses are shaped by individual experiences, cultural contexts, and societal influences. This study also delves into the concept of criticism, whether that from the audience or from theorists and critics. This study after the theoretical part of the reception elaborates the reception and criticism of the film Anna Karenina (1997) directed by Bernard Rose. As an adaptation of the novel Anna Karenina by Leo Tolstoy (1887), criticism and reception in this case focuses, among other things, on the stallings and deviations of the adapted story. Additionally this paper addresses the evolving landscape of film reception in the digital age, considering the impact of online communities, social media and interactive platforms on audience engagement. This study aims to contribute to the ongoing discourse on film reception theory by providing insights into the multifaceted nature of audience engagement and its implications for the wider field of film studies. During this study, I came to the conclusion that coded messages and pre-existing expectations also influence the audience’s reception of a film. The coded message is deciphered by the audience based on the knowledge they possess and not the way the producer thought. In this case, the producer too should not convey messages that are not easily decoded by the audience.