Film Scenes Research Articles

Hidden Moral Messages in Indonesian Horror Film (Analysis of Palasik Film)

This article discusses implicit moral messages in the Palasik film. This film is based on a myth from West Sumatra society as a creature invented by someone who is a Black magician looking to live long in the world. At night, while looking for food, Palasik let’s go of his head and floated in the air. Palasik food is a fetus that is in the womb of his mother. Stories like this make film creators unable to avoid the element of violence in visualization. As a result, many criticisms of this film consider it to be extreme, especially at the moment when Palasik is preying on a fetus in the womb and blood is splattered everywhere. Also, the visualization of explosions for women who have just given birth by first pouring gasoline on them is considered excessive. In general, horror films get criticized because of the content of pornography and violence in them. The crucial question is whether or not the Palasik film does not contain a moral message? This study uses a narrative analysis approach. Data was obtained through in-depth observations of the story of the film arranged from scene to scene. The author interprets the film scene after scene and concludes the moral message hidden in the story. The results showed that the Palasik film conveyed many moral messages, although not explicit. For example, it conveys that collective unity can defeat evil, excessive love can make a person less alert to something bad around them, aggressiveness is formed based on habits step by step, revenge has made humans lose their humanity (especially for invented creatures like Palasik which are certainly more destructive), and power-hungry humans are willing to serve Satan in order to achieve that power.

Automatically synthesizing DoS attack traces using generative adversarial networks

Artificial intelligence (AI) technology ruling people is still the scene in the science fiction film, but hackers using AI technology against existing security measures is an inescapable trend. Network intrusion detection systems (NIDS) based deep learning such as convolutional neural network (CNN) have reached a very high detection rate. But we propose DoS-WGAN, a common architecture that uses the Wasserstein generative adversarial networks (WGAN) with gradient penalty technology to evade network traffic Classifiers. To camouflage offensive denial of service (DoS) attack traffic as normal network traffic, DoS-WGAN automatically synthesizes attack traces that can defeat a existing NIDS/network security defense for DoS cases. Information entropy is used to measure the dispersing performance of generated DoS attack traffic. The generated DoS attack traffic is so similar to the normal traffic that detection algorithm cannot distinguish between them. When we input the generated DoS attack traffic to a NIDS based on CNN in our experiments, the detection rate drops to $$47.6\%$$ from $$97.3\%$$. To make the training more stable, we integrate the Standardized Euclidean distance and the information entropy to evaluate the training process. We believe that AI technology will play a particularly important role in the game of network attack and defense.

Female Librarians Stereotype in the 2000s Indonesian Film

This paper discusses about the research that had examined the female librarian stereotype in Indonesian films, particularly release during the 2000s. Using the paradigm of cultural and media studies, this research examined six Indonesian films portraying female librarian. The units of analysis in this study are those film scenes that were either set in a library or that portrayed female librarians. The method used to analyze the data source is the Critical Discourse Analysis. The results of this study showed that the female librarians were stereotyped in Indonesian films, such as age, dress and hair style. Librarians were depicted as an old woman with the old-fashioned dress and outdated hairstyle. The film’s portrayal of the female librarians were representative of the stereotype in general, i.e. passive, stuffy, and orderly. But on the other hand they were depicted as a friendly, smart, helpful person, and sometimes breaking the rules. Library profession was portrayed traditionally as “library-keeper”, not as someone who plays a role in information and knowledge dissemination.

Don Quixote: The Re-accentuation of the World's Greatest Literary Hero ed. by Slav N. Gratchev and Howard Mancing

Reviewed by: Don Quixote: The Re-accentuation of the World's Greatest Literary Hero ed. by Slav N. Gratchev and Howard Mancing Jonathan O'Conner Gratchev, Slav N., and Howard Mancing, editors. Don Quixote: The Re-accentuation of the World's Greatest Literary Hero. Bucknell UP, 2017. Pp. 298. ISBN 978-1-61148-857-9. The scope of this project is ambitious as it aims to bring together a wide range of perspectives, both academic and non-academic, on the re-accentuations of Don Quixote in temporally and culturally diverse contexts. The editors of Don Quixote: The Re-accentuation of the World's Greatest Literary Hero attempt to tie the volume together through this concept as described by Mikhail Bakhtin, without imposing a rigid framework on contributors: "[we] have given them complete freedom to discuss the concept in their own terms, in their own style, in their [End Page 281] own voice" (2–3). Through this approach, the editors seek polyphony, "where … each voice, worldview, and consciousness received equal representation in its own terms" (2). While most scholars will find merit in a project that aims to represent the breadth of influence Cervantes and Don Quixote have had over the past 400 years, the execution in this case is quite uneven. Margarita Marinova and Scott Pollard offer a successful chapter on the academic end of the spectrum that provides fascinating insight into how Don Quixote was defended, rejected, and transformed for theater in Soviet Russia. The authors outline the novel's role in Soviet debates about the function of the Artist and, more specifically, literature in society and whether a Western classic like Don Quixote would serve "the process of raising the consciousness of the people" (222) or become "completely irrelevant to the new cultural realities" (223). Marinova and Pollard use ample documentation to demonstrate how such debates influenced early Soviet drama's re-accentuations of Don Quixote, resulting in a figure worthy of criticism, pity, or collective subjugation (232–33). The chapter is well-written, engaging, and detailed. On the non-academic end of the spectrum, Roy H. Williams presents in "The Visionary's Quixote" an overview of what Don Quixote represents for entrepreneurs in the business world in North America. While the essay does not rely on objective data, Williams describes a method to his approach that includes a broad survey of entrepreneurs (253) and includes salient excerpts from his results, as well as a summative assessment that suggests "many North American entrepreneurs find in Don Quixote an inspiring symbol of the irrational optimism essential to every visionary entrepreneur" (258). He is also careful to include outliers, such as a respondent who focuses on the harmful effects of Don Quixote's idealism (258–59). Yet, the book also contradicts itself. For example, Tatevik Gyulamiryan's theoretical introduction emphasizes the importance of distinguishing re-accentuation from processes like adaptation, defined as transposing a work to another genre (15). She explicitly qualifies Steven Ritz-Barr's Don Quixote puppet film as an adaptation and not a re-accentuation. Confusingly, Ritz-Barr's description of his film-making process comprises chapter 14 without further comment from the editors. The book often fails to engage and enlighten the reader. Ritz-Barr's essay, promisingly titled "Extracting the Essence of Don Quixote for a Puppet Film," focuses primarily on the author's film-making process, yet devotes scant attention to the essence of the character. Instead, the chapter centers on how decisions were dictated by logistical constraints and limitations: "We did no re-shoots of any sequence or inserts because the project was out of time and out of money, and I was out of energy" (217). While ostensibly academic, the chapter by Slav N. Gratchev, one of the volume's editors, is prone to hyperbole and overly subjective interpretations. On page 149, Gratchev presents a 42-word dream dialogue between Don Quixote and Dulcinea from the final scene of Grigori Kozintsev's film, Don Quixote. Without analyzing the discourse or setting, Gratchev concludes, "All of a sudden, both literary characters acquire more life and reality than they had in the book; we feel that we have known these two people all our...

Art on Her Mind: The Making of Kathleen Collins's Cinema of Interiority

This essay traces the evolution of writer and filmmaker Kathleen Collins's multifaceted artistic oeuvre in order to explore her central, if still largely unacknowledged, place in the black film scene of 1970s New York and to track her subsequent, symbiotic movement between literary and film projects. The first part of this essay shows how Collins's early professional experiences gave her an acute sense of the aesthetic and political possibilities of film but also demonstrated for her the limitations of both mainstream Hollywood, with its stereotypical depictions of black life, and still-masculinist independent black film productions of the 1970s. The second part of the essay then turns to Collins's short stories, screenplays, and her best-known work, Losing Ground (1982), to argue that her signature contribution emerged in response to such limitations: by experimenting within and across media, she developed an alternative filmic practice capable of and invested in representing the individualized subjectivities of black women. Indeed, her ceaseless experiments with film aesthetics reveal a deep belief in the unique power of cinema as a tool to present interiority, perhaps especially the inner lives of black female subjects typically ignored by Hollywood films.

The Perpetrator's mise-en-scene: Language, Body, and Memory in the Cambodian Genocide

Rithy Panh's film S-21. The Khmer Rouge Killing Machine (2003) was the result of a three-year shooting period in the Khmer Rouge centre of torture where perpetrators and victims exchanged experiences and re-enacted scenes from the past under the gaze of the filmmaker's camera. Yet, a crucial testimony was missing in that puzzle: the voice of the prison's director, Kaing Guek Eav, comrade Duch. When the Extraordinary Chambers in the Courts of Cambodia (ECCC) were finally established in Phnom Penh to judge the master criminals of Democratic Kampuchea, the first to be indicted was this desk criminal. The film Duch, Master of the Forges of Hell (R. Panh, 2011) deploys a new confrontation – an agon, in the terminology of tragedy ¬– between a former perpetrator and a former victim, seen through cinema language. The audiovisual document registers Duch's words and body as he develops his narrative, playing cunningly with contrition and deceit. The construction of this narrative and its deconstruction by Panh can be more fully understood by comparing some film scenes with other footage shot before, during and after the hearings. In sum, this 'chamber film' permits us to analyse two voices: the one of the perpetrator, including his narrative and body language; and the invisible voice of the survivor that expresses itself through editing, sound effects, and montage.

Endogenous oxytocin response to film scenes of attachment and loss is pronounced in schizophrenia.

BackgroundOxytocin (OXT) is critically involved in the regulation of attachment and interpersonal function. In this study, emotional children’s movies were used to stimulate OXT secretion in patients with schizophrenia and healthy controls (HCs). Furthermore, associations of OXT levels with measures of attachment style (Psychosis Attachment Measure), childhood adversity (Childhood Trauma Questionnaire) and symptom severity [Positive and Negative Syndrome Scale (PANSS)] were considered.MethodsIn 35 patients with schizophrenia and 35 matched HCs, radioimmunoassay with sample extraction was used to determine OXT plasma levels before and after viewing of movie scenes portraying emotional bonding and loss and compared to a non-emotional condition.ResultsStatistical analysis indicated lower baseline OXT levels in female patients than in all other groups. OXT reactivity during emotional movies was significantly higher in patients when compared to HCs. OXT reactivity during the control movie related to PANSS `general psychopathology’. No significant associations appeared between baseline or induced OXT levels and other PANSS subscales, attachment style or childhood adversity in patients.ConclusionsOur findings suggest differences of baseline OXT and a higher OXT reactivity toward strong emotional stimuli in patients with schizophrenia, suggesting a role of OXT as a gender- and context-dependent modulator of socio-emotional function.

The Influence of Exposure to Smoking in Movies on Cigarette Cravings among Adolescents: A Contextual Quasi-Experimental Model

ABSTRACTThis study explored the socio-contextual characteristics of adolescents that led them to have increased cigarette cravings when exposed to smoking scenes in films. We analyzed online survey data collected from a representative sample of 955 Korean adolescents. Our dependent variable was change in cigarette cravings after watching a smoking scene; independent variables included sex, age, school type, allowance, smoking experience, and parental smoking. We used paired t-tests to identify the differences in cigarette cravings modified by individual characteristics, and we performed logistic regression to explore the influences on these changes in cravings. The high school students investigated herein had significantly stronger cigarette cravings after they watched smoking scenes than they did prior to watching these scenes (t = −5.039, p < 0.001). The cravings were significantly higher after watching the clips among non-smokers (t = −4.264, p < 0.001) and participants who had at least one parent who smoked (t = -2.114, p < 0.05); non-smoking adolescents were also more likely to crave cigarettes after they watched smoking scenes than were smokers (odds ratio = 6.90, p < 0.001). Korean adolescents who did not smoke and those who had at least one parent who smoked showed the strongest cigarette cravings after being exposed to smoking in films. Consequently, more effective prevention strategies should be developed that recognize this tendency when regulating smoking scenes in movies or implementing related campaigns among adolescents.

Impact of stress response systems on forced choice recognition in an experimental trauma film paradigm.

Traumatic events are often followed by memory impairments of key features of the trauma. Stress hormones are involved in emotional memory formation. However, little is known about their influence during trauma on subsequent recognition memory. A pooled analysis of two double-blind, placebo-controlled studies (N = 175) was performed to assess the influence of the noradrenergic system and the hypothalamus-pituitaryadrenal (HPA) axis on intrusion formation. Participants received either 10 mg yohimbine (stimulating noradrenergic activity), 0.15 mg clonidine (inhibiting noradrenergic activity), or placebo (noradrenergic manipulation study) or 20 mg hydrocortisone or placebo (hydrocortisone manipulation study), each 60 min before watching a distressing film depicting severe sexual and physical violence. After seven days, the participants performed a 24-item forced choice recognition test. Memory was assessed for pre-, peri-, and post-trauma film scenes. A significant film scene by intervention interaction indicated a differential influence of drug intervention on the number of correct pre-, peri-, and post-trauma film scene memories one week after the distressing film. Post hoc tests revealed that clonidine led to significantly fewer correct peri-trauma film scene memories compared to placebo and, on a trend level, to yohimbine. Pharmacological inhibition of noradrenaline during a distressing film leads to impaired emotional recognition memory for the peri-trauma film scene.

Structural Connectivity between Film Scenes and Background Music through the Macro Perspective: An Analytical Consideration on 'The Hours' and the Music of Philip Glass

Structural Connectivity between Film Scenes and Background Music through the Macro Perspective: An Analytical Consideration on 'The Hours' and the Music of Philip Glass

‘VISTA MINHA PELE’ E ‘BRANCO SAI, PRETO FICA’: POSSIBILIDADES E DESAFIOS DA UTILIZAÇÃO DE CENAS FÍLMICAS NA APRENDIZAGEM HISTÓRICA

This paper aims at analysing the use of film scenes to teach the African-Brazilian and African History and Culture. In order to do so, it was anchored on the historical consciousness typology created by the German historian and philosopher Jörn Rüsen and on his concept of historical learning. The purpose is to elucidate if the use of films, as a contemporary cultural language of acknowledged pedagogical value, regarding the problematization of topics related to the teaching of African-Brazilian and African History and Culture could provoke changes in the historical consciousness of young students at high school and influence their historical learning process. Hence, from a participating research performed with two groups of students enrolled at high school integrated with a professionalising course, which were based upon qualitative techniques, such as participating observation, conflicts mediation, elaboration and consolidation of reflections through group debates and written narratives, semi-structured questionnaires and a qualitative analysis of the data, it was proposed to: a) proceed to the analysis of the narratives written by the researched subjects; b) investigate the level of competences of these students to attribute meanings and locate themselves intime. Amongst the reached results it could be pinpointed that the use of films scenes presents promising possibilities regarding making the historical thinking complex and consequently the development of the historical consciousness of these subjects.

‘Georgian Film Is a Completely Unique Phenomenon.’ A Film Scene with History, or Georgian Cinema in the Emancipation Loop

Abstract With a view of Georgian cinema under the current spotlights of various international film festivals, the author reviews the state of the art of Georgian film production, linking it to the impressively long history of Georgia’s cinematographic production. Recently, a targeted film promotion policy has focused on international co-productions and on fostering cooperative ventures with European partners. Among the young filmmakers a remarkably large proportion are female.

The Films of MM Serra: Art(core) and the Explicit Body

The Films of MM Serra:Art(core) and the Explicit Body MM Serra (bio) Click for larger view View full resolution Figure 1. Mary Magdalene 2017 [End Page 134] "Mary Magdalene" is separate from you, but comes from you. It is a brilliant, explosive, fierce, and passionate gem, the kind that catches light but can also cut. As I said last night, the woman's body is there to contain and resist; she fights the frame and ideology all at the same time, forcing us to think about how images of the body both seduce and confuse us at every turn. The film does not offer easy answers but rather stirs us to move through the world so much more aware. A film about touching that no one can touch. —Lynne Sachs1 I, MM Serra, have since 1982 created over twenty-four short experimental documentary films. Over the last four decades, through my creation of films such as Turner (1987), L'Amour Fou (1992), Darling International (1999, co-directed with Jenn Reeves), Chop Off (2009), Bitch-Beauty (2011), Enduring Ornament (2015, co-directed with Josh Lewis), and Mary Magdalene (2017), I have explored my personal vision in moving image making by focusing on explicit content with a variety of aesthetics and techniques. Not having a camera or access to film equipment, I had the good fortune to be able to study filmmaking with a pioneer of the American avant-garde film scene Shirley Clarke in 1982 at UCLA. My first six films were created in Los Angeles while I studied with Clarke and were cinematic exercises in creating one-minute films about light and shadow and movement. In my early film Turner, sexuality is expressed through the film's star, blonde Marilyn Monroe-esque C. [End Page 135] Breeze, who is reading her poetry. The lyrics of her poetry are part of a dream about her dog, Turner, eagerly licking her nude body, after she put lotion on herself (canine sex). The film is layered with superimpositions and C. Breeze's use of blue-tinted fabrics. These early films from the 1980s serve as an indication of themes I would explore more explicitly in my later works, after I moved to New York in 1987. My mother, Josephine, named me Mary Magdalene (MM) for the only woman disciple of Jesus in the Christian New Testament. I think she was prescient; she knew deep down that the mythology of Mary Magdalene had a double life and multiple meanings. For many Christians, MM has a reputation as a repentant prostitute or loose woman. I have been inspired by this dichotomy throughout my life. As a girl growing up in a small, factory-based town in Western Pennsylvania in the mid twentieth century, I realized that my name was iconoclastic then and still is today. In June 2018, in response to Stormy Daniels's allegations, Donald Trump's lawyer Rudy Giuliani said, "I respect all human beings. I even have to respect criminals. But I'm sorry, I don't respect a porn star the way I respect a career women or a women of substance or a woman who has great respect for herself as a woman and as a person and isn't going to sell her body for sexual exploitation." Even now, at the end of the second decade of the twenty-first century, a woman within the heteronormative system who uses her body in a sexual manner is demonized and censored. Ever since my early childhood, this name Mary Magdalene has propelled me to stand outside the conventional institutions. By resisting normative paradigms in regards to the art I should create, the clothing I should wear, the films I should watch, the food I should eat, and the life I should lead, I am shaping my existence as a woman and as a filmmaker, using my own terms and initiatives. In childhood, looking at images of Michelangelo's Sistine Chapel in my mother's Italian Bible, I was awestruck by the beauty of the colorful, voluptuous bodies. I wanted to be Michelangelo using photography and filmmaking, creating not just the celestial bodies, but the body in all of...

Lost in the labyrinth: Understanding idiosyncratic interpretations of Kubrick's The Shining

AbstractStanley Kubrick's The Shining still generates intense interest nearly four decades after its release. There are numerous books, documentary films, websites, blogs, and YouTube videos dedicated to analyzing the film's content. Many of these analyses are wildly speculative. For example, the film is a coded confession by Kubrick that he faked the Apollo 11 moon landing footage. What about The Shining's content may contribute to some viewers generating such unusual interpretations? The present article applies psychoanalytic theory, supported by findings from cognitive science, to answer this question. It is argued that The Shining's ambiguity generates an “intolerance of uncertainty” for some viewers, which leads them to project their own beliefs and experiences onto the film's scenes and narrative. Additionally, the film's oedipally themed content evokes archaic associations that some viewers may struggle to integrate, which promotes cognitive regression to a less demanding mode of thought. Although this article focuses on a fictional film, its method and findings are potentially generalizable to other phenomena in which idiosyncratic interpretations are expressed.

The Relation of Drowning Rescue Methods with the Rescuer in Cinema

Objective:The use of various rescue methods for coping with drowning as a subject of research is scarce.Method:With a chi-square statistical analysis in a criterion/convenient sample of film scenes (n=430), it was aimed to reveal how the various rescue methods relate to the rescuer and other related sub-variables. Results confirm that cinematography indeed passes several right and wrong hidden messages to their viewers. It was also found that although the rescue type was not related with the rescuer’s age (p=0.836), body composition (p=0.437) and ethnicity (p=0.849), it was related with the type of the rescuer (if any) that attempted to save the drowning victim (p&lt;0.001;i.e., amateur or professional), the rescuer’s gender (p=0.027) and clothing (p=0.019) and the victim’s early approach (p&lt;0.001).Result:To the degree that our findings correspond with reality, film scenes may be used as means of water safety education in lifesaving and lifeguard classes.

STUDI RESEPSI MANTAN ANAK JALANAN TERHADAP FILM ALANGKAH LUCUNYA NEGERI INI

&lt;p&gt;Social problems in the aspect of street children in Indonesia is still difficult to solve. The Data 2017 issued by the Minister of Social Khofifah Indar Parawansa said there are 4.1 million Indonesian children who are displaced and need protection. Thus, various media attempts to provide criticisms about social conditions in Indonesia, especially through the construction of street children's films. Film of Alangkah Lucunya Negeri Ini describes social problems of street children happening in Indonesia. This study aims to explain how the reception of exformer street children in watching the film Alangkah Lucunya Negeri Ini using the method of reception proposed by Stuart Hall, namely the concept of dominant hegemony, negotiation, and opposition. The results show that informant receptions arise due to different social and cultural dimensions in life as street children in the past. The informants also made the film Alangkah Lucunya Negeri Ini as reflection based on life experience. Thus, the presence of the film gives negative stigma of street children in social relations of society. Scene of film also brings the informant to feel the pleasure of watching that is expressed through both entertaining and emotional forms. Meanwhile, audience also responded activelly to the construction of street children films in social, educational, and religious discourse. Informants who are in the dominant code express their interest in film programs motivated by behavior and social experience as street children. While informants who are in a negotiating position try to be adaptive in adjusting the message in the film, but also have an attitude of opposition as a form of rejection. While the informants who placed themselves in the opposition expressed a different attitude to the construction offered in the film program. There is an element of discomfort with the presence of street children movies in their lives.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Keywords&lt;/strong&gt;: Reception studies, social film of street children, exformer street children, audience active&lt;/p&gt;

Art painting detection and identification based on deep learning and image local features

Many art paintings are placed in film scenes or TV programs as decoration. To prevent using unauthorized copyrighted art paintings, we propose a method that combines a deep learning based object detector and hand-crafted image local features to identify copyrighted art paintings from images that contain them. The object detector is trained with our collected data to be able to detect art paintings. If a query image is input, the object detector will detect the art painting regions, then, the copyrighted art paintings can be identified by matching image local features between the art painting regions and the original copyrighted art paintings that have already been stored in advance. To test the ability of the proposed method from different aspects, we prepared four different kinds of test images: Famous, Monitor Easy, Monitor Hard, and Print. Finally, we provide a practicability analysis of our method based on the experimental results on these test images. Additionally, compared with Scale Invariant Feature Transform (SIFT), our approach outperformed by more than 20%.

Comparing immersive virtual reality and powerpoint as methods for delivering safety training: Impacts on risk perception, learning, and decision making

In two experimental studies, we compared safety training given via immersive virtual reality with safety training given via PowerPoint in their effects on risk perception, learning, and risky choices. In Study 1, we compared the two methods in a sample of apprentices (N = 53) and also investigated whether participants’ conscientiousness and locus of control moderated the effects of safety training. In Study 1, we found an effect of training method on the change in risk perception in terms of probability judgments and on risky decisions but not on learning. In Study 2 (N = 68), we sought to replicate Study 1 and also tested whether domain-specific risk attitudes affected risk perception and choice. Furthermore, long-term effects of safety training on information recall and risk perception after a 6-month interval were assessed. The effects found in Study 1 could not be replicated in Study 2. Neither study found an interaction between presentation medium and personality. We conclude that the costly procedure of immersive virtual reality (VR) does not seem justified for safety training because the less costly PowerPoint procedure with vivid film scenes did not fare significantly worse with respect to changes in risk perception, learning outcomes, or decision making.

Using Motion Picture Films to Teach Nursing Theory in Graduate Nursing Education.

Teaching strategies that use pedagogy of inquiry and contextualization are needed to ensure that nursing students will be well prepared to manage increasingly complex patient information. The rationale for using motion pictures to teach theoretical thinking is explained, and an assignment that uses motion pictures is described. Film scene assignments facilitate learning theoretical thinking skills, reading clinical situations, and understanding how theory can be useful to problem-solve ambiguous clinical situations. Motion pictures present a text-in-motion that can be studied and analyzed in a repeatable, objective, and collaborative way.

Dial P for psychiatry: two short essays about Alfred Hitchcock

Dial P for psychiatry: two short essays about Alfred Hitchcock