Film Portrayals Research Articles

Interpretation of Western Images from a Postcolonial Perspective: A Case Study of Antonioni's Documentary Chung Kuo - Cina

This paper employs textual analysis and postcolonial theory to explore Michelangelo Antonioni's 1972 documentary Chung Kuo - Cina. The study delves into the film's portrayal of Chinese culture, people, and environment, focusing on how these depictions either reinforce or challenge Western audiences' expectations and prejudices. Antonioni's documentary is analyzed for its use of symbolism, cinematographic techniques, and scene selection in constructing an "exotic" image of China. Through a postcolonial lens, the paper examines how the documentary demonstrates Orientalist perspectives, reflecting Western stereotypes and biases towards China. Furthermore, it explores the broader implications of these representations in the context of cultural exchange and power dynamics. The analysis also considers the historical and political backdrop of the film's production, including the Cultural Revolution and China's efforts to shape its international image. This study contributes to a deeper understanding of how visual media shape and disseminate national images in cross-cultural contexts, highlighting the complexities of postcolonial identity construction and the enduring impact of Orientalism in contemporary visual culture.

Behind the Scenes: Unmasking the Misrepresentation of Obsessive-compulsive Disorder in Film and Television

Mental illness can often be seen being portrayed inaccurately in the media. These representations have the power to influence impressionable minds and shape how the general masses consume content about psychological disorders. Media provides both a positive and a negative outlet for these portrayals. Inarguably, the misrepresentation often weighs out the good that can come from such representations. Obsessive-compulsive disorder (OCD), a disorder identified by recurring and distressing thoughts or obsessions and consequent compulsive rituals, is one of the most commonly misrepresented disorders in film and television. This research paper investigates the accuracy of Obsessive-Compulsive Disorder (OCD) portrayals in film and television, exploring how these depictions align with or distort the clinical reality of the disorder. This psychiatric condition has been reduced to being only related to cleanliness and organization and a set of quirky habits that can be ‘cured’ easily. Moreover, the disorder is often portrayed as either untreatable or treated through inaccurate methods. These depictions create a harmful effect on the consumers and their understanding of the disorder. This paper also explores both the advantageous and disadvantageous impacts of such portrayals on viewers and patients of OCD and recommendations of future directions for media representation with a hope for better depictions in the time ahead.

Capitalizing on Animality: Monstrosity and Multispecies Relations in Jordan Peele’s Nope (2022)

One amongst many of the defining characteristics of so-called ‘late stage’ capitalism are human-animal relationships that have become acrimonious, hostile, or even monstrous in nature. A foundational premise of monster theory, and one that Jeffrey Jerome Cohen’s seminal 1996 edited collection of the same name suggests, is that the construction of the monster in popular culture is fraught with the boundaries that constitute the society that has spawned them; the monstrous body “exists only to be read” (p. 4). Bringing together the theoretical insights of the Marxist theory of reification, critical animal studies, and monster theory, this article examines the ways in which cinematic depictions of gigantic monstrosity can inform our theorizing of multispecies relationships under capitalism. Specifically, I explore how the tensions between capital and human-animal relationships serve to construct and constitute the multiform monster, Jean Jacket, in Jordan Peele’s 2022 film Nope. Through an examination of the multispecies relationalities that the film portrays, I argue that the figure of Jean Jacket is a monstrous culmination of the reified and therefore, necessarily deferred nature of human-animal relationships under capital. However, Nope’s conclusion alerts us to the radical dereifying potential of multispecies bonds of care and embodied knowledge; systems of resistance that can be forged even within our current capitalist ruins.

Paprika: Journey of Characters' Dissociative Psyches to Integration Through Freudian Analysis

Paprika is a film that intricately explores the boundaries between dreams and reality, drawing heavily on Freudian psychoanalytic theory. This paper examines how the film employs the characters' dreams to investigate their unconscious minds, reflecting hidden desires and internal conflicts. By focusing on three primary characters--Chiba Atsuko, Officer Konakawa, and the Chairman--the analysis highlights the film's portrayal of identity and self-discovery through the process of psychological integration. Chiba's dual persona, Paprika, exemplifies the dynamic interplay between the id, ego, and superego, while Konakawa's journey illustrates his reconciliation with his fragmented self. Conversely, the Chairman's quest for control symbolizes his illusion of freedom and ultimate failure to achieve integration. The paper argues that Paprika ultimately conveys a profound message about the necessity of integrating disparate aspects of the self to attain personal growth and healing, resonating with broader themes of mental health, creativity, and the blurred lines between virtual and real worlds.

Film Representation of Igbo Cultural Widowhood Practices in Anambra State. An Audience Analysis of a Nollywood Movie: Glory of a Widow

This study examines the representation of Igbo cultural widowhood practices in Anambra State through the lens of the Nollywood film "Glory of a Widow". Employing structural functionalist theory and feminist film theory, this qualitative research utilized focus group discussions to gather data from audiences. Findings reveal that Igbo cultural practices surrounding widowhood continue to be prevalent in contemporary society, perpetuating gender inequality and discrimination. The study identifies the need for amendments of existing laws and policies to protect the rights of widows. The film's portrayal of these practices sparks crucial conversations about cultural preservation, gender justice, and the role of the media in shaping societal attitudes. This research contributes to a deeper understanding of the complex intersections between culture, gender, and media representation in Igbo society, highlighting the potential for film to inspire social change and promote gender equality.

A Study of the Body Narrative in the Film Portrait de la Jeune Fille en Feu from a Feminist Perspective

This article analyses the body narrative in the film Portrait de la Jeune Fille en Feu from a feminist perspective, exploring the gendered power structures implicit in the female characters' bodily expressions and discussing how it constructs and reflects feminist theories. The article reviews the development of feminist theory, emphasises the importance of body narrative theory and its application in film studies, and chooses the film Portrait de la Jeune Fille en Feu as the object of study. Through textual analysis and feminist critical theory, this study dissects the body narratives of the female characters to reveal how visual language and symbols shape the body's position in gendered power relations. It is found that the female body narratives in the film are not only an expression of subjectivity, but also a response to social power structures, demonstrating the deep connection between gender, power and self-identity.

Semiotic Analysis in Film Mat Kilau: A Hero's Awakening

The many forms of communication media technology are advancing at an increasing rate in the contemporary globalization period. Global society has been significantly impacted by this. The mass media's emergence, which allows people to instantaneously communicate and enjoy content, is among the most significant achievements. Film is one of the products of mass media. A lot of movies are produced to impart life lessons, such the heroic and religious ideals of historical heroes, in an effort to instill in the millennial age a growing love for their nation and its religion, whatever form it may take. The selected item for this research was the movie Mat Kilau: Awakening of a Hero. The film's portrayal of the da'wah as well as the definitions of denotation, connotation, and myth present issues. Roland Barthes' semiotic analysis model is employed in this study. The study's findings demonstrate that the movie Mat Kilau conveys the Malay people's values of bravery and hardship in keeping with Islamic teachings. It also incorporates values of preaching through the actors' conversation.

Interpretation of the Lyrics of Teary Eyed Tears by Rubah Di Selatan (OST. PORTRAIT OF CANAL YUSHIRO): A Study of Riffaterre's Semiotics

The aims of this study is to describe the heuristic and hermeunitic interpretations, matrices and models, hypograms, and indirectness of expression contained in the lyrics of "Teary Eyed Tears" by Rubah Di Selatan, which is the original soundtrack of the independent film Portrait Canal Yoshiro. This investigation employs a descriptive method. Using Riffaterre's semiotic theory, the results demonstrate a) heuristic and hermeunitic readings, b) matrices and models, c) actual and potential hypograms, and 4) the indirectness of expression in the lyrics of the song "Teary Eyed Tears" by Rubah Di Selatan, which is the original soundtrack in the independent film Yushiro Canal Portrait.

We Do Not See Things as They Are, But Rather as We Are

Creating film portraits for a Ph.D. on Appreciative Leadership, mentored by Nic Askew, has become both an art and a business Joep de Jong cherishes. He says, ‘crafting these portraits became an art and passion’. Holding unconditional space fosters profound connections. Editing, though laborious, offers deep self-discovery. Three poignant portraits emerged, each a testament to serendipity and profound human connection.

Representation of LGBTQIA in Bollywood Films

India produces more Hindi films than any other country. Film portrayals of society mirror that culture, which in turn shapes social attitudes. Hindi film, also referred to as Bollywood, exhibits strong societal roots. The Delhi High Court authorized homosexual behavior in the last ten years, but the Supreme Court later declared it to be unlawful. These modifications mirror modifications in social views. In this paper, we focus on how homosexuality is portrayed in Hindi films in relation to social attitudes about both male and female homosexuality. In India, cultural and social values and attitudes towards sexuality have historically been positive. However, during the 200 years of British colonial rule, these values and attitudes towards homosexuality and homosexual men and women became extremely negative and even punishable, in line with the prevalent Victorian views on sex and sexual activity. The literature has identified and documented several sexual descriptions and identities. In this essay, we discuss a tiny number of Hindi movies that deal with homosexuality. These representations have generally been unfavorable. We discuss the reasons why this would be the case as well as the effect that these portrayals might have on viewers.

“Overgrown Children” and Where to Find Them: Film Portrayals of Coresiding and Residentially Independent Siblings’ Developmental Maturity

Though young adult coresidence (in which individuals aged 18–35 reside within the family home) is stigmatized in mass media, research has not explored how such depictions relate to understandings of development. We used qualitative content analysis to explore how contemporary Canadian and American films depicted coresiding young adults and their similarly aged, residentially independent siblings with respect to various markers of adulthood. We found that coresiding characters were largely portrayed as developmentally immature both socially (e.g., full-time work) and characterologically (e.g., relational competence). In contrast, residentially independent siblings were overwhelmingly cast as developmentally on time. We argue that these depictions and contrasts reinforce a stigmatized coresider trope, framing the traits and actions of coresiders in terms of atypical development and attributing this living arrangement to individual faults. Implications for social attitudes and the wellbeing of emerging adults are discussed.

BEYOND HEROES AND VILLAINS: PORTRAYAL OF HEALTHCARE WORKERS IN FILM “VIRUS”

The portrayal of healthcare workers in films significantly influences public perception. This study delves into the Malayalam film "Virus," a dramatization of the 2018 Nipah virus outbreak in Kerala, India. Using a semiotic approach, it investigates the representation of healthcare workers through visual elements, character traits, and interactions within the film. Rather than resorting to clichéd depictions of heroic saviors` or villainous doctors, "Virus" offers a nuanced and realistic portrayal. The analysis scrutinizes how healthcare workers are visually depicted through clothing, body language, and facial expressions, reflecting their dedication, expertise, and resilience. It delves into the film's portrayal of character traits, emphasizing their unwavering commitment despite facing significant personal risk and exposure to a deadly virus. Furthermore, it examines how their interactions with patients and authorities illustrate the challenges they confront during a public health crisis. By dissecting these signs and symbols, the research aims to unravel the underlying messages conveyed about the healthcare profession in "Virus." This analysis has the potential to foster a more balanced public perception of healthcare workers in India and globally. Additionally, it highlights how films like "Virus" can employ scientific accuracy to depict the complexities of managing real-world epidemics.

Life as Distinct from Patriarchal Influence: Exploring Queerness and Freedom through Portrait of a Lady on Fire

ABSTRACT This article examines the interconnection of queerness and freedom in Céline Sciamma’s film Portrait of a Lady on Fire. The article focuses on the unattainable relationship between Héloïse and Marianne, their friendship with the house maid, Sophie, and the life of Héloïse’s mother, la Comtesse, to demonstrate how cultivating queerness can undermine the existence of patriarchal influence in contemporary society. Specifically, we argue that the inherent queerness within mutually affirming and supportive sapphic relationships, and any state of living where a woman maintains singleness, can foster independence, and therefore greater freedom, from restrictive and oppressive law. We first consider assisted reproductive technology and superannuation provisions to demonstrate how these laws create a normative cultural framework of heteropatriarchal oppression. We then analyse the film, using it as a thematic touchstone to explore how the heteropatriarchy is undermined through queerness. Ultimately, the film’s representation of life without the masculine gaze begs the question of how women can continue to avoid the fixation of the patriarchy within contemporary society and our laws.

Individual, failing: an analysis of film portrayals of the causes of young adult coresidence from 2010–2020

ABSTRACT Although researchers have observed that film depictions of young adult coresiders (i.e. young adults who live with their parents) tend to be negative, no research has systematically analyzed or explored such portrayals. Adapting Qualitative Content Analysis, this study examined portrayals of Canadian and American young adult/parent coresidence in films released between 2010 and 2020, seeking to ascertain the explanations for coresidence, (i.e. how do films portray why young adults coreside). Analysis of 18 films yielded eight distinct forms of explanations for coresidence, with the two most common being those that rendered coresidence as occurring due to either a mental health challenge or the flawed personality of the coresider. Broadly, film portrayals depicted coresidence as symptomatic of an individualized failing of young adults. Interpreting these findings through the lens of psychocentrism, we argue that film constructions pathologize coresidence and responsiblize coresiders. Further, and in contrast to news media, film constructions ignore systemic or structural drivers of coresidence. This research is the first to examine film portrayals of coresidence in depth, highlights distinct depictions of young adults in film media, and draws attention to the discrepancies between documented reasons for coresiding and those portrayed in on-screen storytelling.

Feminism Up on Stage A Discussion on the Deformation of Female Images in Chinese Film and TV Works

Taking Chinese film and TV works as the research subject, this paper attempts to analyze the development of feminism and the deformation of the female image shaped by film and TV works, summarize and reflect on the motives as well as the results of these works. We deploy a case-study methodology to scrutinize the evolution of feminism and the prevailing trend of distorted female portrayals in film and TV. It identifies three primary modes of distortion in the depiction of women in three mediums. This paper also aims to advocate that film and TV works should reasonably shape female image, veritably reflect the voice of females and convey feminism, and positively promote the development of feminism in China. At the same time, we advocate that filmmakers ought to fathom the true essence of feminism, genuinely reflecting the authentic voices and demands of women. We also hope that this paper will have a deeper significance for the subsequent research.

Archiving the Past, Painting the Present

This paper focuses on the representations of diversity and feminism in the French fi lm Portrait of a Lady on Fire (Portrait de la jeune fi lle en feu, 2019), directed by Céline Sciamma. Set in the 18th century, this fi lm addresses numerous contemporary issues through a feminist lens. This paper views Portrait of a Lady on Fire as a visual archive in the history of feminist and queer cinema, creating dialogues between the past and present. Concurrently, using Céline Sciamma as an entry point, the paper also explores the female authorship in the 21st-century French cinema.

Give the Black Girl the Remote: De-colonising and Depatriarchalising Knowledge and Art in Black Panther and Colour Me Melanin

This article explores two texts set in Africa to determine to what extent they exhibit decolonial and anti-patriarchal impulses. They are Ryan Coogler's 2018 film, Black Panther, and the adult colouring book, Colour Me Melanin (Kekana 2019), which features 27 portraits of African women paired with 27 poems inspiring pride in women's African heritage. Black Panther features a Black superhero: the hypermasculine T'Challa, although its technological genius is not T'Challa (the eponymous Black Panther), but his sister Shuri, disparaged by traditionalists in Wakanda as 'a child'. Despite her irreverent and iconoclastic approach to tradition, sixteen-year-old Shuri is 'the smartest person in the world, smarter than Tony Stark [Iron Man]' (Malik 2023). Despite these promising features, the film's portrayal of Shuri - a Black girl nerd who is manifestly her brother's equal in the arts of war and technology - stops short of a complete depatriarchalisation of the norm that reserves superhero status for men. Further, Black Panther contains a number of concerning representations that reinforce, rather than disrupting, the colonial view of Africa. Colour Me Melanin may be called speculative fiction in that it points to a future that is yet to come as it shifts the locus of women's beauty away from whiteness and places it firmly in the domain of Black African women's embodiment. All the same, some aspects of this multimodal text signal its affinity for colonial taxonomies and ways of thinking about ethnicity.

Religious Oppression and Injustices in the Irish Order of Nuns: A Critical Examination of the Film “Philomena

This paper explores the themes and criticisms raised in the film "Philomena" regarding the Irish order of nuns and their treatment of women and children. The film sheds light on the injustices committed by the nuns, such as forced adoptions and the oppression of unmarried mothers. It highlights the role of religion in shaping societal attitudes towards sexuality and the consequences faced by those who violated these moral standards. The paper discusses the film's portrayal of both compassionate and cruel nuns, questioning the credibility and morality of the entire Catholic order. It emphasizes the need for specificity when addressing the injustices committed by the nuns and acknowledges that not all nuns share the same behaviours or beliefs. Furthermore, the paper explores the role of journalism in uncovering these past injustices and the tension between the media and the secretive nature of the convent. Overall, "Philomena" serves as a timely reminder of the historical mistreatment and oppression endured by women and children in Catholic Ireland, calling for a re-evaluation of religious moral standards and the treatment of the vulnerable.

Analysis of Female Gaze in Lesbian Films from the Perspective of Camera Language —Taking Portrait of a Lady on Fire as an Example

Western feminist film theory was formed in the 1960s and 1970s and it has been widely discussed since then. With the help of Freud’s psychoanalysis, Laura Mulvey analyzes the interweaving of erotic pleasure in film, its meaning, and the central place of the image of the woman. At the same time, the improvement of film technology and photography methods provide more chances for female spectators to seek pleasure as counterparts in films. The lesbian film is a category that crosses many film genres and highlights female subjectivity. Both female characters and spectators can be the subject of different kinds of gaze, looking at others while experiencing the story about a woman’s affection. Based on Freud’s psychoanalysis and Laura Mulvey’s theory, this paper analyzes how camera language embodies the female gaze in Céline Sciamma’s esbian film Portrait of a Lady on Fire (2019). The study of interaction among the camera, the character, and the spectator is of great significance in the realization of the female gaze, which can be inspired for future films, especially feminist films, to stress the value of female roles and pay attention to female spectators’ emotions.

An Analysis of the Correct Use of Female Gaze from the Perspective of Gaze Theory -- A Case study of Portrait of a Lady on Fire

Feminism is currently popular, and there are an increasing number of feminist films attempting to promote this idea. Some scholars have expanded the theory of gaze into feministic fields, most notably Laura Mulvey, who proposed the concept of the male gaze. Following that, the theory of the female gaze was developed in response to the theory of the male gaze. However, the use of the female gaze in many films is incorrect, and the gaze theory lacks a clear definition of the female gaze. Using gaze theory, the study investigates the proper use of the female gaze in feministic films. First, the research points out some representations of the pseudo-female gaze: directors only change the protagonist's gender, transforming a male into a female with a female performing male functions; they maintain a male gaze while incorporating feminist themes; the portrayal of females is stereotypical and idealistic, not delving into their true inner thoughts. Then Taking the film Portrait of a Lady on Fire as an example, the outcome demonstrates that the correct female gaze used in films has the following characteristics: Characters can be aware of and object to the gaze; It is the gaze as equal seeing; It is the gaze that focuses on the feelings and experiences of the characters. All these characteristics can be used in future feministic films to help improve audiences' understanding of the female gaze and to help get rid of the pseudo-female gaze in films.