Home Movies Research Articles

Analysis of Conflict Faced by the Main Character in “Spiderman No Way Home” Movie

This research is entitled “The Analysis of Conflict Faced By The Main Character In “Spiderman No Way Home” Movie”. This study aims to find out the types of conflict in Spiderman No Way Home movie and to analyze the conflict management strategies are used by the main character in Spiderman No Way Home movie. In collecting data, this study applied observation method. The method used in analysing the data is a descriptive qualitative method. The writer analysed the data based on the theory types of conflict and conflict management strategies by Kenney (1966). In presenting the findings, formal and informal methods are used. The formal method is used by presenting the data in the form of table to present research findings on the type of conflicts the main character faces, and the informal method is used by explaining the data using description or sentence as well as in the form of text to describe how the main character manages to settle the conflict in the movie through a narrative form. The results showed that the main character of “Spiderman: No Way Home” movie faced two types of conflicts, which were internal conflict and external conflict. The external conflict dominated the data result, with 87.5% over 12.5%. The external conflict happened between the main character with other characters, also with the society. Meanwhile, the internal conflict occurred inside the main character, which was Peter Parker. An analysis of the way the main character manages the conflict was found in “Spiderman: No Way Home” movie, they were compromise, pacification, and competition. Based on the analysis result using Kenney theory (1966), the most strategy found in the movie was competition. It took 90% of the strategy result.

Home Movies as Reliquaries of Memory: A Phenomenological Perspective

If film immortalises the ephemeral and presentifies the past, this is especially true of home movies, whose content is not the result of a narrative composition or an invention of fiction, but the product of fragments of reality. These three categories – fiction, documentary, and the home movie – have been analysed by Jean-Pierre Meunier and Vivian Sobchack, with an emphasis on the effect that each film mode can have on the spectator, eliciting a particular emotional and cognitive response. But these authors’ models depend entirely on the spectator’s experience to identify each mode, with the home movie being limited to footage in which we can recognise our own families. Nevertheless, a stranger’s home movie can elicit an act of recognition through an intersubjectivity that arises from the footage. On this basis, this article proposes a reading of the home movie as a reliquary of memory, where content and medium intersect to give rise to the particular experience associated with this film mode.

Unveiling Private Histories: Ethical and Theoretical Implications of Transforming African American Home Movies from Personal Keepsakes to Public Artifacts

Unveiling Private Histories: Ethical and Theoretical Implications of Transforming African American Home Movies from Personal Keepsakes to Public Artifacts

Home movies as technologies of belonging and resistance

This article examines the significance of home movies as tools of resistance and belonging, particularly for African American families during the Civil Rights era. Focusing on archival collections from the South Side Home Movie Project (SSHMP), African American Home Movie Archive (AAHMA), and the National Museum of African American History & Culture (NMAAHC), the study reveals how African American families, through their cinematic documentation of visits to national parks and other leisure activities, challenged prevailing narratives of national identity. Despite encountering rampant discrimination, these families captured moments of joy and relaxation, highlighting their resilience and assertion of their rightful place within the American narrative. These historical home movies are profound testimonials of Black identity, resilience, and belonging in the face of adversity. Examining these films enriches our understanding of cultural memory, national identity, and the role of African American home movies in presenting a more nuanced American history.

Home as survival: Seeing Queer archival lives

As a teenager in the eighties, French filmmaker Sébastien Lifshitz scoured flea markets for amateur photographs. In 2013, he assembled a book titled The Invisibles comprised of snapshots depicting queer lives. He included a pair of Kodachrome images, which replicate a near-identical domestic scene in the 1960s: two aging women in their bourgeois home sit at a table, embracing as they look at the camera. Taking as a point of departure these personal photographs, this article focuses on two documentaries that queer postwar domesticity: Lifshitz’s The Invisibles (2011) and Magnus Gertten’s Nelly and Nadine (2022). In his film, Lifshitz not only includes postwar snapshots and home movies, but also reinvents the amateur dispositif. He interviews queer aging men and women inside their homes, challenging social exclusion and stigma based on gender nonconformity and aging. In Nelly and Nadine, a sexagenarian named Sylvie retrieves home movies from her attic that uncover a lesbian love story between her grandmother Nelly and a fellow survivor of Ravensbrück named Nadine. Decades later, the centrality of the domestic space and the amateur archive in these two documentaries offers a lesson in seeing the home as survival and unlearning the master narratives of the postwar era.

Home as a site of resistance: Editorial

This special issue intervenes in the scholarship on domestic space on screen by adopting a specific focus on the home as a space of resistance across different geographies and time periods, from the 1960s to today. The articles utilise a mix of research methods, from archival to participatory documentary. Considering debates from fields such as home movie studies, virtual reality, media activism, and the relationship between film and urbanism, the articles in this special issue demonstrate how film and media can address resistance centred around the concept of home. They also challenge and offer alternative views to white, heteronormative, middle-class representations of domestic life. These articles provide insights into the challenges and importance of home for marginalised groups, suggest new ways for film and media studies to approach representation, and centre the portrayal of often overlooked communities. Central to these articles is the idea of home and the use of media as a form of resistance and agency that can be used to contest mainstream perspectives. Each article looks at what home means, whether it’s a place of safety, precarity, identity, or memory, with each essay looking at how media shape or challenge our views of home and social identity.

Flouting Maxim in Spider-Man: No Way Home Movie

The aims of this research are to find out the types of Flouting Maxim and Flouting Maxim that most frequently occurred in the Spider-Man: No Way Home movie. This research used Cooperative Principles theory that proposed by Grice (1975). The researcher used descriptive qualitative method and documentation techniques in collecting data. The data of this research were taken from the utterances by all the characters in the Spider-Man: No Way Home movie. Based on the result, the researcher found 32 data contained Flouting Maxim based on Grice’s theory. The researcher found 4 types of Flouting Maxim, there are; 7 data of Flouting Maxim of Quantity, 8 data of Flouting Maxim of Quality, 10 data of Flouting Maxim of Relation, and 7 data of Flouting Maxim of Manner. Based on the result, it can be concluded that Flouting Maxim of Relation is the Flouting Maxim that most frequently occurred in the Spider-Man: No Way Home movie.

Influence of Nigerian Home Movies on the Behaviourial Disposition of Nigerian Youths

The study examines the impact of Nigerian home moves on Nigerian youth behavior, emphasizing the need for government intervention to restore order and preserve cultural values through education, mobilization, and entertainment. Negative attitudes because of violent movies Therefore, it is recommended that the abundance of local films undergo careful examination prior to production and distribution in order to have a positive influence on Nigerian society as a whole. The proliferation of local films is problematic. we used 200 respondents as our sample size drawn from our research production amuwo-Odofin Local Government Areas (Lagos) to test the variety of interest. Also the survey research method of data collection was employed to generate information on the impact of Nigerian home movies on the youth. Three hypotheses in chapter four, two of The impact of Nigerian home movies on youth was investigated using the survey research method of data collection. In chapter four, there were three hypotheses; two of them passed the test, and one failed due to the violence connected to certain house moves. Tables, straightforward percentages, etc. were used to present the analysisThe study explores the impact of Nigerian home movies on the behavioral patterns of young people in secondary schools and tertiary institutions in Amumo Odofin and Lagos.

The Flying Spirit of Movement within These Solid Objects: Marie Menken’s Home Movies

Marie Menken (1909-1970) was one of the most influential and beloved filmmakers of the American avant-garde, a liberatory inspiration for several subsequent generations of artists. Her films were characterized by wildly kinetic handheld camerawork, which have largely been understood through the lens of those she inspired. This essay analyzes Menken’s films in terms more specific to her, focusing on her broadly inclusive, often structuring celebration of motion in all its forms.

Nollywood Productions and Campaign against Drug Abuse: Undergraduates’ Perception of Teens Characterization in Far From Home Movie

Nollywood productions have been characterized with depictions of social vices which may influence teenagers indulging in such vices. However, early 2022 during the global campaign against the menace of drug abuse, Nollywood as an industry under the umbrella of Actors Guild of Nigeria (AGN} threw their support behind National Drug Law Enforcement Agency to combat the menace of drug and drug related crimes through their productions, targeting the youth. At the end of the same year, Far from Home movie was released, which characterized teens as major characters that were selling and using drugs in high school. This work is set out to seek the views of undergraduates in Anambra State on teen characterization in a drug related movie like Far from Home and the support of AGN in combating the menace of drug and drug related crimes. This work was hinged on reception theory and adopted focus group discussion as research design to elicit data from undergraduates in Anambra state. Findings revealed that respondents perceived the teen characters as replica of what is obtainable in the society as the movie reflected the happenings in secondary schools and higher institutions. Also, this study showed that Nollywood

Visual, Spatial and Temporal Aporias in the Post-Palestinian Films of Basma Alsharif

Abstract This article focuses on the films of diasporic Palestinian artist Basma Alsharif, analyzing the visual strategies she mobilizes to negotiate three aporias in Palestinian experience around visuality, space and mobility and temporality. Focusing on Ouroboros (2017) and Home Movies Gaza (2013), I explore the ethical ways she represents a situation of suspended violence without spectacularizing suffering or relying on overdetermined visual conventions. The films evoke both feelings of spatial constraint, and conversely, a diasporic expansiveness that characterizes a Palestinian structure of feeling. Finally, I look at Alsharif’s engagement with the concept of the eternal return, paying particular attention to the ways that it suggests a notion of time not predicated on the unitary, revolutionary (i.e., heteromasculine) subject and proposes a way forward not based on the exclusionary rhetoric of the nation-state. Throughout the article, I put her work in conversation with other female Palestinian filmmakers handling similar themes to identify emerging patterns in how Palestine is portrayed and conceived.

Documenting Chinese homecomings: Reflexive aesthetics and cinematic memories in Four Springs (2017) and The Reunions (2020)

This article examines two contemporary Chinese films that document the filmmakers’ homecoming journey during the Chinese New Year: Sige chuntian (Four Springs) () and Jixiang ruyi (The Reunions) (). It argues that both films have the characteristic of being reflexive documentaries exploring and expanding the boundaries of documentary films. According to Meunier’s three types of filmic identifications – the documentary attitude, the home-movie attitude and the fiction attitude – the two films challenge documentary norms and combine the documentary attitude with the other two types of attitude. Four Springs combines documentary and home movie by closely capturing the four journeys of homecoming confined in the private sphere of the filmmaker’s home, whilst The Reunions combines documentary and fiction, and even actuality and performance, through actor Liu Lu’s portrayal of the director Da Peng’s cousin in the presence of his real family. By challenging these documentary forms, these two films reflect the directors’ uses of documentary to memorialize their personal experiences with their families, more than merely reflecting the cultural phenomenon of the Chinese New Year homecoming.

Cross-Generational Storytelling

Sarah Choi interviews Sasha Su-Ling Welland, chair and professor of Gender, Women, and Sexuality studies at University of Washington, Seattle, and Sabrina Craig, director of Community Engagement for South Side Home Movie Project in Chicago, to discuss their engagement in cross-generational storytelling. Acknowledging the vital role women’s shared memories have played in preserving historical knowledge, Welland and Craig make a connection between their pedagogical, ethnographic, and counterarchival practices, which situate cross-generational conversations at the heart of feminist historiography.

New Paths for Exploring ‘History from Below’: Microhistorical Documentaries

This article proposes a specific category of documentaries that adopt a unique approach to explore the past, and which are referred to here as “microhistorical documentaries.” These films fall within the basic parameters of written microhistory, a historiographical trend that emerged in the 1970s under the broader umbrella of “history from below.” Those parameters include a reduced scale of observation, a central role given to human agency, a conjectural approach to archival research, and a reliance on narrative structures. But microhistorical documentaries also exhibit specific traits of their own, such as underscoring the affective dimension, using autobiographical and essayistic perspectives, drawing on the protagonists’ personal memories to reconstruct the past, and using family archives (mainly snapshots and home movies). Films of this kind therefore differ markedly from the informational/expository model of the conventional historical documentary, sharing features with a certain type of contemporary documentary, with some traits that can be linked to a postmodern sensibility.

PENYEBARAN SPOILER DI MEDIA TIKTOK TERHADAP FILM SPIDERMAN: NO WAY HOME PERSPEKTIF HUKUM PIDANA ISLAM

Spiderman: No Way Home will be released on December 15, 2021. Spoilers for this film are circulating on the internet, especially on the Tiktok application which is currently being used. The problem with this spoiler, the author found accounts that spread spoilers for the Spiderman: No Way Home movie by uploading snippets of the film on Tiktok media. This is where the formulation of the problem emerges as follows: 1) How is the crime of spreading spoilers on Tiktok media in the case of the Spiderman: No Way Home film? 2) How does Islamic criminal law review the spread of spoilers on Tiktok in the case of the Spiderman: No Way Home film? This research is a normative juridical research. The research method in this study is through a library research approach, with the data used are secondary data, and the sources of data taken in this study are primary, secondary and tertiary legal materials. The data collection is carried out by literature study of legal materials obtained from data that has been processed and obtained from research results, then collected, read, recorded and described by inductive thinking, namely from general to specific questions so that the results are presented. research results can be easily understood. Based on the results of this thesis research, it can be concluded that: 1) The crime of spreading spoilers in the Tiktok media against the Spiderman no way home case is a cyber crime in the form of offense against intellectual property, namely a crime against intellectual property rights. Spoiler actions violate article 32 of the ITE Law, because spoilers are categorized as "transmission" actions and the sanctions are a maximum imprisonment of eight years and/or a fine of two billion, as regulated in article 47 of the ITE Law. 2) A review of Islamic criminal law on the spread of spoilers on Tiktok media in the case of the film Spiderman: No Way Home, namely that spoilers are the act of taking other people's work without permission or plagiarism. Plagiarism can be categorized as an act of theft. So in Islamic crime the sanction for the perpetrator is cutting off his hand as in the letter Al-Maidah verse 38. However, the theft in the form of spoilers does not meet the conditions for the hadd punishment, thus requiring the ta'zir punishment.
 Keywords: Spread, Spoiler, Tiktok

Amateur Film, Cultural Memory and the Visual Legacy of the 1920s Inter-Tribal Indian Ceremonial

This essay considers amateur cinema as a site of Indigenous history and counter-memory, one capable of activating meanings that challenge notions of home movies as being films without public value. The amateur films were made by an American geologist, William Wrather, at the Inter-Tribal Indian Ceremonial in Gallup, New Mexico, in the late 1920/1930s, and they interweave footage of Wrather’s family with recordings of the parade and dances. I explore how Wrather's memory as a seeing subject creates space for reevaluating these films through an Indigenous frame of reference, subsuming his memories into a dynamic new “memoryscape” of cultural history.

A dream, a visual diary: disruptive narrative modes in When the Camera Stopped Rolling (Jane Castle, 2021)

ABSTRACT Dubbed ‘a forgotten trailblazer’ of Australian filmmaking, Lilias Fraser was also the mother of cinematographer, Jane Castle, who spent more than a decade piecing together When the Camera Stopped Rolling (2021), a multifaceted documentary that draws on a rich archive of photographs, home movies and film footage shot by three generations of the Fraser-Castle family. Describing her love-hate relationship with the film, Castle says, ‘The final form was found through the making, rather than having a plan and applying a plan. I didn't know what it was about until it was finished.’ In its final form, When the Camera Stopped Rolling disrupts audience expectations of a hagiographic or elegiac narrative celebrating the lifetime achievements of Lilias Fraser. Ultimately, When the Camera Stopped Rolling is Jane Castle's story: an exquisite work of autofiction and self-extraction from the Fraser-Castle family and its audio-visual archives.

A STUDY ON ILLOCUTIONARY ACTS USED BY THE MAIN CHARACTER OF SPIDER-MAN : FAR FROM HOME MOVIE

This research is a descriptive qualitative which analyze the illocutionary act in the main character in Spider-Man: Far From Home Movie. This research aimed to identify the types and functions of illocutionary act in the main character in Spider-Man: Far From Home Movie. The researcher used Miles and Hubberman’s theory to analyze the data. It consists of data reduction, data display, and conclusion drawing/verification. The research found that there are 4 types of illocutionary act that used by the main character in Spider-Man: Far From Home Movie based on Searle theory: those are representatives, expressives, directives, and commisives. Directive is the most illocutionary act used in this Movie. They appeared 36 times. It is followed by expressives which are uttered 31 times. Then, representatives are uttered 8 times and commisives are uttered 3 times. Therefore, There are 4 types of illocutionary function used in this movie based on Searle theory: competitive, convivial, collaborative, and conflictive. Competitive is the most illocutionary function used in this movie. They appeared 55 time. It is followed by convivial which are uttered 16 times. Then, collaborative uttered 4 times. The forth is conflictive that uttered one times.

Change of Scale: Home Movies as Microhistory in Documentary Film

Change of Scale: Home Movies as Microhistory in Documentary Film

From Hollywood to the Home Movie: Reclaiming the Image of Asian Americans and Pacific Islanders in Film, 1894–1945

From Hollywood to the Home Movie: Reclaiming the Image of Asian Americans and Pacific Islanders in Film, 1894–1945