Film Texts Research Articles

Substantive metonymy in the film text (based on E. Ryazanov’s films)

Substantive metonymy in the film text (based on E. Ryazanov’s films)

Изучение английского языка с помощью аутентичного художественного фильма (на материале фильма английского режиссера Джо Райта «Искупление»)

The paper discusses theoretical and practical issues related to the semiotics of a film text and discourse and teaching English as a foreign language. The following practical issues are discussed in the article: 1) watching movies as an effective way of learning English; 2) types of assignments suitable for work on the movie "Atonement" by the English director Joe Wright. The properties of the movie text as a means of learning and upbringing are considered. On the basis of a scripted film analysis a conclusion is made about the relevance and effectiveness of learning a foreign language through watching movies as well as cultivating ethical system values and acquaintance with the culture of the target language.

Love is Glorious: The Analysis of Emotional Education Culture of Film “To Our Youth That Is Fading Away”

About the educational films, most of the existing studies in academia and culture are based on the construction of theoretical perspectives, or the discussion of the narrative content and the transformation of themes of a certain genre, but there is a lack of important educational issues based on the analysis of film texts. As a popular narrative genre of educational films in China since the beginning of this century, “youth narrative” has a wide range of communication audiences, but for the audience, there is a need for more in-depth discussion of its educational meaning. Therefore, it is necessary to select typical case of “youth film” in China, describe the emotional education in detail, and try to put forward the theoretical category of “emotional education culture”, to show that for teenagers, the complex, mutual, reverberative and dislocated relationship of emotional space poses a great challenge to education.

The Analysis of the Film Triangle of Sadness from the Narrative Space

This thesis explores the use of narrative space in the black comedy film Triangle of Sadness, directed by Ruben stlund. The film reveals the hypocrisy between people and the struggles surrounding class inequality through contrasts and reversals. The thesis is based on the theory of spatial narrative and analyzes the film text through three categories of narrative space geographic space, emotional space, and metaphorical space. Geographic space is examined through the settings of the yacht and the island, reflecting modern civilization and nature. Emotional space is analyzed through intimate and confined environments that enhance the emotional tension between characters. Metaphorical space is illustrated through symbolic elements such as the octopus and the exchange of sexual capital, critiquing social and gender dynamics. In this film, spatial narrative effectively reveals and critiques issues of class inequality, using spatial construction to enhance the film s satirical impact.

The Practice of Body Power and Masculine Resistance of Male Actors in Indonesian Comedy Films of the Reform Era

The practice of power over male actors' bodies in comedy films is understood not as a neutral process where factual reality is conveyed directly through text or images, but as a social praxis related to the deconstruction of gender, resulting in new understandings of masculinity depicted in films from the Reform Era. To address this question, the researcher employs Norman Fairclough's critical discourse approach to comedy films as the main theoretical framework, combined with Michel Foucault's perspective on power relations and Maurice Merleau-Ponty's theory of body language. The paradigm used in this research is the critical paradigm, with data collection techniques obtained through film text documentation studies. The research results show that the male actor's body does not merely function as a tool for visual narration but also as a powerful medium for expressing deeper themes related to power, identity, and social dynamics. For instance, in the film Arisan! 2, the narrative highlights sexual freedom and emotional vulnerability. Meanwhile, Bebas emphasizes physical changes and social symbolism through the male body.

대중문화로서 영화텍스트의 평생교육적 가능성 고찰

Purpose: This study examined popular culture, which is closely related to our daily lives, from the perspective of public pedagogy, and explored the educational possibilities of movies, especially among the various genres that make up popular culture. Based on this, the educational implications of film texts were identified and this study proposes their role in the field of lifelong education, as well as suggests implications for 'film education' currently practiced in schools. Methods: For this purpose, the relationship between our lives and popular culture and its influence were examined and a description of the audience's reactions to the movie was revealed in media articles and critical texts with three films, as well as the social repercussions of the films. Results: As a result, popular culture, especially films, reveals the public's unconscious by representing reality and also constructs discourse through the audience's critique. The study also found that films as texts enable audiences to critically reflect on “represented reality” and that their educational meaning can be interpreted in a variety of ways depending on their own experiences and life contexts. Conclusion: The meaning of film education is reconstructed according to the learner's life context and experiences, and it is in this sense that education occurs.The meaning-making of education that occurs for an individual throughout their life is holistic, including schooling. The existing film education centered on narrative analysis in public education and lifelong education should be transformed into a method that emphasizes the characteristics of the film medium.

Deep Learning-Based Analysis of Emotional and Content Relevance Between Bullet Screens and Subtitles as Movie Narrative Medium

This study borrows elements of film text in the field of film studies to develop the potential of data analysis using AI algorithms, while aiming to explore the emotional and content relevances between the two narrative mediums in film, bullet screens and subtitles, as well as the narrative effect variations that they bring about. The film sample Forever Young was analyzed by deep learning, data analysis, and knowledge discovery algorithms and tools. The BERT model was used to quantify the intensity of emotions and conduct fine-grained emotional classification of film characters. Emotion curves are plotted based on time series data. Thematic words are extracted by the LDA algorithm, and text similarity is computed using Word2Vec. The study found differences in emotional expression between bullet screens and subtitles, and they also exhibit strong emotional and content relevances. Yet, this correlation is not only influenced by temporal deviation factors but also by specific emotional types, different stages of story development, and the collective emotions of online views. The conclusion suggests that the effective collection of plot metronomes in film narratives helps reveal crucial plot nodes and emotional trends in films that cause obvious emotional changes, and placing them appropriately is fundamental for continuously attracting and retaining viewers’ attention. The interaction between bullet comments and subtitles is not only about emotional expression but also enhances the effectiveness of the film narrative. Overall, this study demonstrates the importance of database logic and technology in understanding and expressing film emotions and meanings, and providing new ideas and methods for enhancing film narrative effectiveness.

Interpretation of the Tiger Trappers Novel by Ivan Bahrianyi in the Ukrainian Cinematography of the 1990s and Musical Theatre of the 2020s

Attention is paid in the article to the landmark event of modern Ukrainian culture – the book celebrating its anniversary in 2024 – Ivan Bahrianyi’s novel the Tiger Trappers and the rethinking, interpretation of this work in the modern Ukrainian artistic space, in particular in cinematographic and theatrical texts. This year, 80 years have passed since the world saw the adventure work with autobiographical elements, which resonated not only at home, but also abroad. And this is not surprising, because Tiger Trappers has been translated into many languages of the world and had a circulation of over a million copies. Ivan Bahrianyi has submitted to a wide audience a very Ukrainian in spirit and worldview action, which even today in the 21st century is able to interest young people with its truthfulness and insight, its thirst and desire for freedom. The film version of the Tiger Trappers novel, which has appeared in 1994 at the Ukrtelefilm studio is analysed in the investigation. A well-known figure of Ukrainian culture Rostyslav Synko is a director and screenwriter of the film. The film text is based on the original source, but there are also differences those testify not only to another time period, the other era in which the film was shot, but also to certain new accents, a new vision, a reinterpretation of Ivan Bahrianyi’s novel about the young aviator Hryhorii Mnohohrishnyi. According to the plan of the author of the film story has another name. He is called Andrii Chumak in the film. There are also the other details those differ in the novel and in the fictional strip of the same name. And this is quite natural, because it is about the author’s interpretation, reinterpretation of a well-known work. The film of the same name also draws the viewer’s attention to the two Ukraines of the main characters: to the distant, dreamed-of real Ukraine with Golden-topped Kyiv and to the Second Ukraine, which immigrants, exiles from their native land, have built for them in the Far East in the bloody 20th century. In our time, this motif acquires new shades, because again, already in the 21st century, there are Ukrainian immigrants, again there are people who are forced to seek refuge all over the world, escaping from the terrible Russian invasion. Will new immigrants be able to find their Second Ukraine? Will they be able to return to their homeland? Life will show... The interpretation of the novel in modern Ukrainian musical theater is considered. Last year the musical Tiger Trappers directed by Serhii Pavliuk has been released basing on the novel of the same name by Ivan Bahrianyi. This fact, without exaggeration, has become a landmark artistic event, which has success with the audience and favourable reviews of critics. It is emphasized in the article that when we see a finished cultural product of the Ukrainian artistic space, whether it is a film or a theatrical production, a musical, etc., based on a certain work of fiction, we realize that this is already an interpretation, a reinterpretation. So, we are already talking about the creation of a new cultural text – a film text, a theatrical text, a musical text, etc. The significance of modern theater and film art is understood. It is claimed that the mission of art today is exactly rehabilitation through art. An artistic product should give hope, show a happy version of the course of events. Faith in the victory of good over evil, glorification of love that does not pass away – all this should be present in modern theatrical, musical and film texts today. After all, there is a demand for such cultural products in the modern time slice of the 2020s.

“The World as a Pomegranate”: Intercultural Symbolism of the Fruit of Paradise

The article explores one of the constructive materials, or patterns, of the Armenian text – the image of a pomegranate. Its multicultural genesis is revealed based on Sergei Parajanov’s film “The Color of Pomegranate”. The authors analyze not only the multi-ethnic contexts of the image of a pomegranate but also its different facets: in particular, the role of the image of a pomegranate in liminary situations – rites of passage (using the example of the biography of the artist Alexander Volkov, and the picturesque plots “Pomegranate Teahouse” by A. Volkov and “Rejoicing with a Pomegranate” by Usto Mumin, depicting the painted characters in their liminary stage – the Sufi state of hal, which raises the heroes to the highest level of knowledge). The image of the pomegranate is presented in the reception of the authors of Russian poetic texts: Mikhail Matusovsky, Vasily Nemirovich-Danchenko, Boris Chichibabin, Fazil Iskander, Gevorg Kubatyan, German Getsevich, Amiram Grigorov, Sergei Gevorkyan, as well as in the translations from Omar Khayyám. The semantics of pomegranate is analyzed in the story “Pomegranate” by the Uzbek writer Abdullah Kahhar, as well as in the fragments of other prosaic texts (Dina Rubina, Timur Pulatov) and the film text “The Tree of Desire” by Tengiz Abuladze. The study reveals the Biblical and Koranic meanings of the pomegranate image. The polyphony of meanings of the image of a pomegranate in different cultures, in different types of art, and in different eras comes down to the homogeneity of the pomegranate, existentially revealed by Sergei Parajanov in the formula “the pomegranate is the whole world”.

Beyond the lens: More-than-human encounters in Yin Hong’s Himalayan science education filmmaking

The post-1949 production of China’s science education films has not received enough scholarly attention. This article treats Yin Hong’s Himalayan filmmaking as a prism through which we can rethink science education films’ propaganda missions, knowledge-making modalities, promotion of environmental awareness, and status in Chinese film and overall cultural history. Yin Hong’s film texts, produced under strict government censorship in Mao-era China, propagated the ideology of transforming and mastering nature for socialist development. Nev­ertheless, through investigating personal writings of Yin Hong and other scientists, the article illustrates that the filmmaker’s on-site filming practices embody an epistemic space where personal and embodied encounters with nature cannot be reduced to a “nature-conquering” mission. His filming journey demonstrates more-than-human encounters, where nonhuman nature is not just a subjectable and silent object but actively reshapes filming practices. Shifting analytic focus from representations to practices, the article advocates for a rediscovery of science education filmmaking in China.

Adapting Sunset Song: Authorial, Industrial, and National Discourses in the 2015 Film Adaptation of Sunset Song

This article traces the discourses shaping the 2015 film adaptation of Sunset Song, directed by Terence Davies. In doing so, it shows how both the film and Lewis Grassic Gibbon's original novel are involved in complex negotiations of ideas about Scottishness. In the case of the film, this is evident in its sophisticated and poetic visual engagement with some aspects of the novel's characterization of Chris Guthrie, its use of language, and its representation of landscapes. The same negotiations are apparent in paratextual materials that demonstrate the route taken by the producers and director when navigating the fraught economic terrain of feature-length filmmaking in Scotland, both in terms of funding applications to national funder Creative Scotland, and the way it mobilized particular discourses of arthouse and auteur cinema in its marketing and production materials. Finally, through a close look at the emphasis on militarism, femininity, and landscape in the film text, the article considers how the film performs a kind of Scotland that is amenable to the tastes of the filmmaker, the desires of the public funder, and the arthouse film festival circuit where it was primarily consumed.

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.

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.

SOCIALIZATION OF DIGITAL TELEVISION BROADCAST TECHNOLOGY CONVERSION (STUDY REGARDING THE REPRESENTATION OF DIGITAL TELEVISION BROADCAST TECHNOLOGY IN OMNIBUS SHORT FILM)

Omnibus Short Films are a collection of several short films that have the same theme. Omnibus Short Film with the Theme Migrasi TV Analog / Omnibus STB consists of 4 (four) Short Films entitled : TV Ini Kubelikan Untuk Anakku Tapi Istriku Marah-Marah, Ningali TV, Mbayar and Menjarah. This research uses the Social Reality Construction Theory which is a theory from Peter L. Berger and Thomas Luckmann (1966). This research method uses the Charles Sanders Pierce Semiotic Method, to research and analyze film texts. Apart from that, the researcher also carried out communication interactions with various sources, observations, interviews, documents and other materials as evidence or proof, related to the Socialization of Digital Television Broadcast Technology Conversion (Study Regarding the Representation of Digital Television Broadcast Technology in Omnibus Short Films). The paradigm used in this research is constructivist. This research uses a qualitative approach which allows researchers to discuss the research in more depth. The novelty or novelty of this research is the Omnibus Short Film with the Theme Migration of Analog TV / Omnibus STB, as a medium for conveying messages to the public, has shown that the film is able to make the circulation of information through the socialization of the conversion of digital television broadcast technology, faster and evenly distributed in efforts to socialize the conversion of digital television broadcast technology. This means that it has completed Peter L. Berger's Social Reality Construction Theory, namely that all this time Peter L Berger never talked about the media, but then it was the media that led to representation. So the media plays a role as a construction and representation of reality, in the socialization of the conversion of digital television broadcast technology

Reformulating Black Cinematic Labor

Abstract Considering the 2022 film Nope, this essay pushes beyond indexical and ontological readings of blackness in film in order to consider how invisible forms of blackness—in particular, the labor of black film workers—are inscribed in the film text. It argues that the inscription of black labor and a reading of film as an effect of labor supply a reformulation of a deracinated film formalism. Mining Nope's self-reflexive gestures, the essay explores the film's reformulation of American film history and its navigation of the invisible and the spectacular as the limited forms of manifesting blackness in cinema.

The development of self-therapeutic documentary films in China

This article is devoted to the study of the development of self-therapeutic documentaries in China since 2000. The object of the study is a Chinese documentary about self-therapy. The subject of the research are documentaries about self-therapy in the early 2000s: "More than One is unhappy" (2000), "Home Videotape" (2001), "Nightingale is not the only Voice" (2001), as well as films that appeared after 2016: "Small Talk" (2016), "Minding the Gap" (2017) and "The Lovely Widow and Her Annoying Son" (2019). Special attention is paid to self-therapeutic documentaries presented at the Mother Film Festival and the documentary masterclass FamilyLens, created in China in 2022. The author examines in detail such aspects of the topic as the causes of its occurrence, the definition of the genre and the form of the film text. To understand the trajectory of development of Chinese documentaries about self-therapy, as well as the causes and characteristics of each period, this study uses an integrated approach using content analysis and text analysis, as well as psychoanalytic theory to explain the filming of documentaries about self-therapy. The author argues that the key point in the foundation of the subgenre of documentaries about self-therapy in China is the presence of the director as the main character of the film, filming himself. The study identifies two distinct periods in the development of self-therapeutic documentary films in China, both of which are closely related to the development of film equipment. In conclusion, the author not only evaluates the positive attitude of self-therapeutic documentary practice towards self-awareness and raising public awareness of problems related to the native family, but also argues that researchers should pay more attention to potential ethical problems present in films. This is because, in fact, directors do not heal during filming, but use it as a means of attacking their parents.

Affair Caught between Two Worlds: A Transcultural Exploration of the “Asian Lover” in Western Literature and Film

Based on L'amant, this paper offers a critical discussion of the representations of the “Asian lover” in contemporary Western film and television works. By focusing on a transcultural exploration of the “Asian lover” that combines close-reading of literary and filmic texts with original archival research in contemporary news reports and government files, this paper examines the ongoing debates surrounding the underlying Western cultural stereotype with the East from a global standpoint.

The director’s approach to film text in movies following the rule of three unities

The purpose of the research. To identify the director’s tools for conveying the authorial understanding of history. To prove that the director’s authorial vision in working on film history does not always depend on the script written by the playwright. The article explores the directorial interaction with the film text in fiction films and identifies two forms of director’s engagement with film dramaturgy and examines the distinction between the “theatrical” approach to working with film text and the authorial interpretation of the story. The object of the research is films with realized unity of time, place, and action, serving as examples of the space for potential directorial authorial approach.
 The methodology. In the article the following scientific methods are applied: research (to collect information about the chosen topic), deductive method (to identify certain stylistic features of films with the rule of three unities), comparative method (to identify the features of the director’s work), and generalization method (to write conclusions).
 The results. In conclusion, films with embodied unity of place, action and time serve as a vivid basis for illustrating the interaction of the director with the cinematic context: working on such projects requires the ability to create a complex cinematic context and tell a story within limited possibilities without violating the artificially defined canon of the three unities. Through the analysis of selected cinematic contexts and the identification of the director’s toolkit used in them, authorial experiments with local narratives were divided into two groups. The first group included films in which the director works in a theatrical manner and simply transfers the action from the script to the screen, while the second group includes films with an existing authorial interpretation of the story, where the rule of the three unities is complemented by the director’s concept. Studying the director’s approaches of the second group allowed for the identification of four main tools for narrating a complex cinematic context, which complement or even contradict the script content: 1) the director-author’s chamber view (“camera-pen”) — to convey the directorial intonation of attitude towards characters and emphasize his authorial meanings and accents; 2) the chamber view of the character-author to convey his thoughts, attitude towards other characters, motivations, internal events, emotions, experiences, etc.; 3) audiovisual expression of the character’s state and associations through associative editing, to narrate the character’s perception of events; 4) a special, non-mediated cinema-theatrical actor’s existence to narrate complex characters and human relationships. None of these tools is usually inherent in the screenplay of the film, therefore, their application does not affect storytelling but only complements it with new meanings.
 The scientific novelty. It is the first comprehensive study of the director’s aspect of interaction with the film text, depending on the author’s intention.
 The practical significance. Prospects for further research are related to the following aspects of the evolution of cinema art, which require scientific attention: the methodology of directorial interaction with text and subtexts; directorial innovations in “screenlife” films, where the rule of the three unities is observed; director’s approaches to the cinematic adaptation of theatrical plays, and so on. Overall, the analysis of directorial tools is a dynamic and relevant process in light of the development of cinema industry technologies and the desire to experiment with formats and meanings of authorial expression.

Dossier 2: Getting Out the News: Historical Documents

Abstract: Historical scholarship on Finally Got the News (1970) has prioritized the production of the film, in large part at the cost of its subsequent circulation as a filmic text and political document. However, in emphasizing production, such histories neglect the tedious and no less contentious process of distributing the film through the auspices of the League of Revolutionary Black Workers' limited resources. This Dossier provides an account of Black Star Productions, the filmmaking arm of the League, and its efforts to distribute Finally Got the News to institutional and noncommercial venues alike. Black Star is also considered beyond its relation to Finally Got the News as a short-lived independent production and distribution unit. This account is buttressed by the reproduction of historical materials relevant to the production, exhibition, and distribution of Finally Got the News and to the inner workings of Black Star Productions.

Handle with care! teachers in Egyptian cringe comedies: a multimodal analysis

Abstract For almost a century, several Egyptian comedies have set up cringe-worthy power-sensitive encounters between struggling low-paid teachers and spoiled rich and powerful students, often leading to negative portrayals of teachers and student-teacher relationship. One play, Madraset el-Moshaghbeen ‘School of the Rowdies’ (1971), has long been held accountable for student misconduct across the country. A 2008 film with a loosely similar theme, RamaDan Mabrouk Abul-Alamein Hamouda, has received a much warmer welcome as a harmless light comedy. This paper brings these two comedies into focus and probes into the management of cringe in filmic text based on the Benign-Violation Theory of humor as well as Baldry and Thibault’s (2006. Multimodal transcription and text analysis: A multimedia toolkit and coursebook with associated on-line course. Equinox) Multimodal Transcription Model. Optimizing for the four dimensions of psychological distance (temporal, social, spatial, and hypothetical) would help control the benignity of embarrassing violations and free the audience to enjoy the humor. Alternatively, minimizing psychological distance would evoke audience empathy with the violated teacher character and may block audience amusement. Audience reactions through the comment field on strategic clips from the film and play on YouTube would reveal whether a cringe-inducing scene has evoked amusement, vicarious embarrassment, or both. The paper proposes an inventory of the features that would contribute to adjusting psychological distance to achieve the desired effect. These features intersect with the four dimensions of psychological distance, narrative and stylistic choices, as well as the multimodal affordances of filmic and embodied expressions.