Narrative Film Research Articles

Analyzing 'Himawari No Yakusoku' in 'Stand by Me Doraemon' through film soundtrack and communication theories

This study examines the impact of the song "Himawari No Yakusoku" on the narrative and emotional complexity of "Stand by Me Doraemon" using film soundtrack theory and film communication theory. The focus of this inquiry is the incorporation of music into cinematic storytelling in order to elicit emotions and strengthen narrative ideas. The significance of this study arises from the increasing acknowledgment of music's pivotal role in the film, requiring a more profound comprehension of how soundtracks enhance the viewer's experience. This research used a qualitative analytical methodology to investigate the structural components of the song, encompassing its introduction, verses, pre-chorus, chorus, instrumental section, and outro. The analysis utilizes theoretical frameworks from prominent works in the field of film music studies, such as Claudia Gorbman's theory on narrative film music, Kathryn Kalinak's observations on the purposes of film music, and David Neumeyer and James Buhler's debates on the emotional influence of soundtracks. The result suggests that "Himawari No Yakusoku" successfully utilizes important musical methods, including key selection, polyrhythm, thematic recapitulation, and harmonic resolution, to correspond with the emotional and narrative progressions of the film. The song begins with a warm tone in the key of Bb, the verses feature a polyrhythm that adds emotional complexity, the pre-chorus creates anticipation, and the chorus serves as a distinctive leitmotif. The instrumental portion adds introspective complexity, while the outro provides a gratifying conclusion. These features collectively improve the film's narrative, showcasing the song's essential function in influencing the audience's emotional and cognitive reactions.

Study of Wes Anderson’s Film Tragedy from the Perspective of Tragic Aesthetics

The research object of this paper is Wes Anderson, an American independent director and author-director. Wes Anderson and his films are unique, Because his films have not only won numerous artistic awards, but also have considerable commercial value. The purpose of this article is Analyze the underlying content of the movie. This article takes the film narrative, theme and visual impression as the starting point, and analyzes the director's films, and then summarizes how Wes Anderson's films operate from the perspective of tragic aesthetics. This article uses case analysis and interdisciplinary research methods to study Wes Anderson's movies and the philosophies they contain, try to sort out the tragic aesthetic characteristics shared in his films. The paper finally summarizes the characteristics of Wes Anderson's film aesthetics and the theoretical sources of film philosophy. Wes Anderson carefully designed every detail of the film to make the audience clearly feel a sense of alienation, but also to immerse the audience into them. Wes Anderson calls his movies "very personal" because he integrates his unique insights into the philosophy of life into his works and deconstructs life from a unique perspective, allowing the audience to experience a unique style of film.

<여행자> 영화에서 호모 사케르의 의미 연구

This study studies the precious value of life as a human being through the concept of ‘Homo Sacer’, which provides a clue to the fundamental question of life of adoptees, ‘Who are they?’ in connection with the recently revised special law on domestic adoption and the history of adoption. Focus on To this end, this researcher first examines the issue of adoption through the concept of homo sacer, and then analyzes the narrative of director Uni Lecomte's autobiographical film <A Brand New Life> to determine what the film aims for and the weight of life borne by the adoptive party. I want to feel it. We expect that this research will contribute to improving awareness of adoption and promoting social inclusion.

At the Intersection of Cinema and Architecture: An Exploration of How Architectural Space Design Transforms into a Subject of Resistance in the Film 'Leyla's Brothers'

The use of space holds a distinctive place in cinematic narrative, as spaces created primarily in adherence to the story are also intertwined with the ideological stance within the narrative. Transforming a place into a space is possible through communication established with that place, and a location initially planned as four walls becomes a space through interaction with individuals. In cinema, space is a distinctive area where the story unfolds, and the narrative is directly shared with the audience. Thus, the ideological nature of space within the context of the story also finds its place in the cinematic narrative. The relationship between cinema and space signifies the combination of visual and spatial elements in the art of cinema, conveying a specific atmosphere, emotion, or meaning on the aesthetic plane to the audience. This relationship involves the ability of filmmakers, producers, and cinematographers to offer a certain experience to the audience by selecting specific locations, while also reflecting the director's subjective perspective in the film, taking the audience on a journey. Architectural design of spaces not only advance the flow of the story and lead the character development but also manage conflict areas. A specific location can alter the dynamics of relationships between characters. The film "Leyla's Brothers" (2022), directed by the Iranian filmmaker Saeed Roustaee, serves as a symbolic example of the strong structure of cinema by attempting to convey inter-sibling conflicts to the audience in ideological, cultural, and societal terms. It also emphasizes the significant role of architecturally designed cinematic spaces in conveying these nuances. In this context, the study attempts to discuss the film "Leyla's Brothers" within the framework of Henri Lefebvre's spatial theory, providing a comprehensive perspective that goes beyond the physical environment to understand social relationships, power dynamics, and cultural structures. Lefebvre regards space not only as a physical area but also as a social, cultural, and political phenomenon. His space theory argues for the understanding of space in conjunction with social relations. The analysis aims to explore the film within the power of cinema to reflect social dynamics and cultural elements, considering the societal dynamics of Iran.

Unfolding the entangled geosemiotics of technologically-mediated gated communities: Mountain View’s (2021) advertisement as a case study

Gated Communities (GCs), as residential enclaves in urban and suburban environments that offer exclusive housing and a multitude of onsite amenities, are burgeoning in many fast-growing Egyptian cities. In the past few years, several upscale Egyptian GCs have received unequivocal attention in high-profile TV advertisements and campaigns which package and technologically mediate social spaces overlaid with aesthetics of unique architectural character, distinctive leisure amenities, social exclusiveness, and prestigious lifestyles. Set against this backdrop, this paper takes up a postphenomenological-geosemiotic approach toward the examination of the affects of elitism that transpire in one upmarket urban enclave’s advertisement, namely Mountain View. Arguably, in the filmic narrative of the promoted social spaces, the technological mediation and intentionality of the camera shot scale modulate multi-sensory and multi-spatio-temporal relationships between viewers and the GC lifeworld/residents that are worthy of scrutiny. Key findings include how POV camera shots are employed and appropriated to mitigate (and mediate) the representation of transnational elite semiotic landscapes and the pertinent affective intersubjectivities of doing eliteness. The systematic analysis of MV’s semiotic aggregate unravels an affective aggregate that is, in essence, a concrete instantiation of Foucault’s notions of heterotopia and (post)-panopticism.

Социально-философские аспекты влияния кинокоммуникаций на сознание людей

The article delves into the multifaceted influence of film communications on human consciousness from a social-philosophical perspective. Emphasizing the significance of cinema as a potent medium of communication in modern society, the analysis explores the intricate dynamics through which films shape individuals’ perceptions, values, and behaviors. Concepts such as media effects, ideological hegemony, and symbolic interactionism are employed to elucidate the complex interplay between cinematic narratives and individual consciousness. Analyzing the process of film reception, the article elucidates how viewers subconsciously internalize cinematic narratives, projecting themselves into the characters and situations depicted on screen. This process engenders a cognitive resonance wherein viewers assimilate the existential themes and values propagated by the film, thereby shaping their worldview and cognitive frameworks. Moreover, the article explores the dual nature of film communication’s influence on human behavior, distinguishing between covert and overt forms of influence. While covert influence operates on the subconscious and emotional levels, shaping individuals’ values and attitudes, overt influence manifests as deliberate and purposeful actions informed by cinematic narratives. By examining the social-philosophical dimensions of film communication, this article contributes to a deeper understanding of the complex interplay between media, ideology, and human consciousness. Acknowledging cinema’s role as a powerful agent of socialization and cultural dissemination, the article underscores the relevance of critical engagement with cinematic texts and the need for media literacy in modern society.

Raskolnikov as a Transformed Character: Aki Kaurismäki's Adaptation of “Crime and Punishment” (1983)

How do motion pictures transpose the characters from a well-established literary work into a cinematic narrative, replete with their own narrative potential? Can the resulting film be regarded as an entirely new creation? To explore these questions, we have selected Aki Kaurismäki's 1983 cinematic adaptation of Fyodor Dostoevsky's Crime and Punishment. The primary objective of this study is to ascertain whether the characters from a literary work undergo a transformation into new personas, enriched by the narrative possibilities inherent to cinema. Kaurismäki's adaptation of Crime and Punishment transposed the narrative to a more contemporary era and streamlined the cast of characters, with the film director imparting his distinctive touch to their transformation. In Kaurismäki's rendition of Crime and Punishment, a metafictional dimension emerges, blurring the boundaries of narrative levels. The film's characters comport themselves as if intimately acquainted with the original novel's story and characters. While maintaining fidelity to the foundational narrative, a novel artistic creation takes shape, wherein the characters exhibit a profound awareness of their origins within the original literary work.

Transformative Narratives: Generational Gaps in Post-War Japan Through the Cinematic Lens of Tokyo Monogatari and Ohayo

The research delves into the profound generational divides depicted in Yasujir Ozu's Tokyo Monogatari and Ohayo, providing a captivating cinematic exploration of post-war Japans transformative landscape. Through an intricate synthesis of cinematic narratives and history analysis, it meticulously examines the contrasting attitudes towards material fulfillment, evolving social norms, and shifting patriarchal dynamics portrayed in these masterpieces. Yasujir Ozu, widely regarded as one of Japans most influential filmmakers, captured the complexities of generational dynamics and societal transformation during the tumultuous era of reconstruction in the 1950s in Japan. By scrutinizing these themes in depth, the essay offers profound insights into the complexities of post-war Japanese identity, shedding light on the intricate interplay between tradition and modernity during the pivotal era of reconstruction in the 1950s. Through its nuanced examination of these multifaceted themes, the essay provides a comprehensive understanding of the enduring generational gaps that emerged in Japanese society during the 1950s, inviting readers to contemplate the intricate dynamics shaping the nations narrative during a crucial juncture in its history.

Generating Video Descriptions with Attention-Driven LSTM Models in Hindi Language

This research addresses the existing gap in video descriptions for regional languages, with a particular emphasis on Hindi. Motivated by a thorough review of available literature, it was observed that languages like Hindi are inadequately represented in this domain. Consequently, we initiated the project titled "Generating Video Descriptions with Attention-Driven LSTM Models in Hindi Language" to enhance accessibility and inclusion of Hindi multimedia content. Leveraging advanced LSTM models and utilizing the VATEX dataset, our objective is to pioneer advancements in regional narrative video production. By venturing into unexplored terrain, we not only contribute to the promotion of Indian language and culture but also establish a precedent for exploring narrative films in other regional languages. This research is strategically designed to foster diversity, integration, and propel broader advancements at the intersection of natural language processing and multitasking. Our findings demonstrate that our approach yields competitive performance when compared to state-of-the-art video captioning baselines such as BLEU and METEOR. This signifies the efficacy of our methodology in enhancing the quality of video descriptions, thereby contributing significantly to the field of regional language video captioning.

Fatih Akin’s Modern Tragedy of Deprivation: Aus Dem Nichts (In The Fade)

Fatih Akin's cinema takes a clear political stance on the experience of being the other, especially since the director himself, as an immigrant, has experienced it first-hand. Aus Dem Nichts (In The Fade), which is the subject of this article, stands out as a production with a sober discourse on the view of the other. The film's story draws heavily on real events and opens up Germany's long criminal file on xenophobia for discussion. However, Akin also emphasizes that xenophobia is fundamentally about the absence of empathy. In other words, the director goes beyond making a stereotypical movie by considering this absence as not only political but also anthropological. Violence against foreigners, far from being a political choice, is about an indifference to the presence of another, and is much more widespread than we realize. In this article, Aus Dem Nichts is analyzed in the context of mise-en-scene criticism. A philosophical deconstruction of the film's narrative and style reveals that Akin has successfully presented a modern tragedy of deprivation.

Gender (im)balance in the Russian cinema: on the screen and behind the camera

The relationship between on-screen and off-screen inequality in film industries and the relative impact of these on movie attendance is widely discussed but not necessarily empirically demonstrated. This article examines the binary gender composition of film project teams and the gendered representation of film characters as factors for cinema attendance. We collected a unique dataset (N=1285) of all films released during the pre-pandemic decade (2008-2019) in Russia – at that time the largest European cinema market. A marked-up subset of 243 films was used to calculate a novel version of the Bechdel-Wallace test that accounts for the proportion of all non-stereotypical dialogues in the film narration, as opposed to the classical binary test. Our test proves very informative, revealing a strikingly high proportion of dialogues with stereotypical portrayals of women even among the films that pass the Bechdel-Wallace binary threshold. We also undertook a social network analysis (SNA) of the characters’ communications. This analysis demonstrate that women predominantly occupy a peripheral position in film plots. Both stereotyping and marginalization of women are positively related to the proportion of men in the film crew, especially in the role of screenwriter. Simultaneously, having more men in key positions is also correlated with access to larger budgets and better distribution, thus effectively impeding films with stronger women characters from wider audiences. These audiences, however, show no prejudice towards films with such characters: after 2015, films featuring central women protagonists have the same level of attendance as movies without them. Although Russia exemplifies a large non-Western cinema market, the trends we identify, particularly the “gatekeeping” effect of male filmmakers, is notably in line with those observed in Western democracies.

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.

Konstruksi women empowerment dalam film Memoria

Women empowerment is a form of women's resistance to the domination of power and gender-based violence. This research aims to reveal the construction of women empowerment in the film Memoria (2016) by Kamila Andini through analysis of the film's narrative structure and cinematographic elements. The identification of the film's narrative structure uses Gérard Genette's narratology theory through the concept of focalization and the identification of cinematographic aspects using Metz semiotics. The method used in the research is the descriptive qualitative method. Data collection techniques were carried out by reviewing film sequences, literature studies, and identifying cinematographic aspects. The results show that Maria's focalization dominates the story, moves the story, and there are six grand syntagmas, namely descriptive syntagma, parallel syntagma, bracket syntagma, scene, episodic sequence, and insert subjective. Analyzing the narrative structure and the cinematographic aspects of the film through a series of syntagms, both represent the construction of women empowerment continuously. Maria is a woman who survives various life challenges and can heal the trauma within herself. The healing process starts from within oneself (self-healing) and then sharing stories (sharing) with family or trusted people. These things are steps toward freedom, justice, and women empowerment.

Indian Cinema: Bollywood as a Reflection of Social Political Issues

Abstract: Indian cinema, particularly Bollywood, has been a mirror reflecting the intricate tapestry of social and political issues prevalent in the country. This research project aims to delve into the dynamic relationship between Bollywood films and the socio-political landscape of India. Through an interdisciplinary approach encompassing film studies, sociology, and political science, this study will analyze a selection of Bollywood films spanning different eras and genres to explore how they engage with and reflect upon issues, such as gender inequality, caste discrimination, religious tensions, corruption, and socio-economic disparities. By examining the portrayal of these issues in cinematic narratives, visual aesthetics, characterizations, and thematic elements, this research seeks to elucidate the ways in which Bollywood serves as both a reflection and a commentary on the challenges and transformations shaping contemporary Indian society and politics. Additionally, the project will investigate the reception and impact of these films on audiences, considering their role in shaping public discourse, mobilizing social movements, and influencing policy debates. Through this comprehensive analysis, the research aims to contribute to a deeper understanding of the complex interplay between cinema, society, and politics in India

The Use of Religious Identity in the Narrative of "Qorin" (2022): A Study of New Historicism

Qorin (2022) is one of the contemporary Indonesian horror films that incorporates Islamic religious elements as a theme in its narrative. This research aims to examine the use of religious identity both audio and visual in the narratives of contemporary horror films in Indonesia. The research method used is qualitative description with content analysis. The theory used to examine the film is the theory of New Historicism. Through this theory, the film Qorin (2022) will be examined based on 2 things: the interdiscursivity of the film text with texts outside the film and the world or meaning to be depicted in the film. The conclusion of this research shows that the movie Qorin provides an overview of the socio-cultural conditions that occur in Indonesia through religious identity. This can be seen especially in the relationship between religious leaders and their followers.

Breaking the Cult of Masculinity –The Other Lamb, Midsommarand Empowerment on Screen

It is not only cult cinema but also the representation of the ‘cult’ on screen that can provide vital opportunities to de-centre destructive masculinity and ask questions about wider gender power struggles. Female characters that are at the centre of cult cinema, driving the narrative and breaking the rules of masculine control are not a new phenomenon. From Pam Grier’s ferocity in films such as Coffy (1973) and Foxy Brown(1974) to Kurt Russell’s brutal takedown in Tarantino’s Death Proof (2007), cult film has long been a platform for destabilising the notion of traditional gender hierarchies. The notion of the ‘cult’ itself, however, has long been thought of and (represented on screen) as an all-male power trip with disastrous consequences for those that believe. As far back as The Seventh Victim (1943) and Rosemary’s Baby (1968), there have been many manifestations of cult violence towards woman on screen but there is also a cannon of films that use cinematic representations of the cult to change the narrative and bring wider gender politics to the surface. Two such contemporary examples of this are Małgorzata Szumowska’s The Other Lamb (2020) and Ari Aster’s Midsommar (2019). Both films offer nightmarish manifestations of cult mechanisms and control that at first seem to once again place men and masculinity in pole position. This paper will examine how the narrative, character and cinematic language of both films offer a more complex and subversive discourse linked to female empowerment. They use the medium to offer cautionary, and often shocking, on-screen representations that attempt to disrupt traditional, male led power structures and can also be read as a commentary on wider society and not simply the cults that they portray.

An Overview on the Theme of Courage in “The Perfect Storm”

“The Perfect Storm”, directed by Wolfgang Petersen, is a film adaptation of a novel of the same name by Sebastian Junger. The movie narrates the exceptional skills and courage of the six crew members, led by Captain Tyne, as they challenge the treacherous waters and violent storms of the North Atlantic Ocean. Starting with the small obstacles experienced by the sailors at the beginning, the story turns into an adventure that challenged their strength and courage. Despite completing their tasks in the final successfully, the crew is defeated by the great power of nature and sinks into the depths of the ocean. Nevertheless, the courage and skills they demonstrated throughout their journey distinguish them from the rest of the people and make them the heroes of their community. In the context of the cinematic narration, this paper examines how the actors demonstrate courage in the face of challenges, thereby reflecting the theme of bravery. This paper benefited from the philosophical perspectives of Osho and Joseph Campbell. The various stages a hero goes through according to the work titled The Hero With a Thousand Faces by Campbell, discussed as the focal points of the study.

Bereavement And Melancholy in Cinema: A Comparative Review Between Turkish and American Cinemas

Cinema is one of the most vivid and sensational reflection tools in the art world since it reverberates almost all emotions concerning human beings and their experiences. One of these emotions is grief due to the loss of our beloved ones and in the same way as existence and life, it is a striking issue covering lots of films and thus the concept of mourning and sorrow are the most outstanding and common themes having a profound impact on cinema audiences. In other words, despite cultural and social differences all around the world, grief and pain are intense and universal emotions. Understanding and interpreting the contexts in which these emotions are addressed in different cinema cultures is essential to reveal the cultural projections of cinematic narratives. As part of this idea, the main purpose of this study is to illustrate how Turkish Cinema and American Cinema approach the concepts of bereavement and lament. Accordingly, four well-known films, Canım Kardeşim (1973) Babam ve Oğlum (2005), Rabbit Hole (2010) and finally Manchester by the Sea (2016) have been determined via purposeful sampling method and analyzed by focusing on remarkable similarities and differences in terms of loss and death with the aid of descriptive analysis. As a result of reviews of the films, it has been observed that the Turkish approach to death and loss includes melodrama, emotional abuse, and local connotations while the American one involves a more realistic point of view underlying individual crises, mental collapses or devastations.

Black body representation in Get Out (2017) and Us (2019) by Jordan Peele

Black characters soon appeared in Hollywood films such as The Birth of a Nation (1915), Intolerance (1916). They are recognised as criminals, not conceded as human rights. African-American directors created films to change the image of black people. Jordan Peele inherits the efforts of his predecessors and takes the story of black people in cinema to a new level with identity clarification. That is clearly shown in the movies Get Out (2017) and Us (2019). The research aims to identify the black body representation in the above two films by Jordan Peele as an expression of identity. Body denial is the root cause of violence among African Americans. This acts as a form of identity tracing. The research combines the use of cinematic narrative and semiotic approaches with interdisciplinary research methods such as culturology and anthropology. The basic principle of the position of the research is the theory of ethnic identity. The use of comparison, collation, analysis and synthesis will be applied in the process of developing theses.

Study on the Spatial Narrative of Li Changdong's Green Film "Trilogy"

Space is one of the important areas of film industry research. It is not only an important medium to simply understand the relationship between film and social reality, but also an important channel to read artists' thoughts and analyze what artists want to express and how to express them. South Korean director Lee Chang-dong is known as the "poet who asks for life" and his unique spatial awareness builds a personal influence vein full of writing. The space in Lee Chang-dong's films not only records the growth of individuals and the changes of cities, but also becomes a place where various powers compete with each other, showing the painful memories of the oppression of individuals by The Times.First of all, the paper divides the film space of Li Changdong into visual narrative space and auditory supplementary narrative space. By studying different spatial characteristics and presentation ways, it brings people's thinking behind it. Secondly, starting from the narrative function of the film, this paper studies how the space successfully participates in the narrative and becomes the narrative driving force of the film, thus affecting the narrative structure of the film and participating in the character modeling in the film. Thirdly, through some artistic languages such as sound and color, an orderly space environment is created. Finally, the paper combines the realistic point of view to study the unique spatial consciousness of director Li Changdong from his own point of view to analyze the significance behind the spatial narrative.In this paper, the spatial types, narrative functions, narrative techniques and the meaning behind Li Changdong's films are studied. Through the study of spatial narrative, I want to understand the film style and main ideas of director Li Changdong, and understand personal survival mode and living soil behind it through the entry point of space.