Live-action Film Research Articles

Analisis Wacana Kritis Norman Fairclough Pada Film Barbie 2023 Sebagai Representasi Budaya Patriarki

Film is part of audio-visual mass media communication and aims to convey social messages to the audience in accordance with the reality that is growing and developing in society. One of the films that has this purpose is the film Barbie Live Action 2023. The purpose of this research is to dissect the discourse in three dimensions, namely textual, discourse practice, and sociocultural practice. In this research, the type of research used is qualitative-descriptive research. The paradigm used in this research is the critical paradigm. The appropriate research method used for this research is Norman Fairclough's Critical Discourse Analysis method. In the textual dimension, the linguistic tools of Diction, Cohesion, Modality and figure of speech metaphor are obtained. In the discourse practice dimension, at the production level the Barbie film is produced with two backgrounds, namely Barbieland and the real world, namely the city of Los Angles, United States with English language dialogue. At a text consumption level, the film is the highest-grossing box office film of all time with earnings of $1.45 billion. Sociocultural practices have 3 levels, namely situational, institutional and social levels. Situational Barbie script was written during the pandemic. For example, the film Barbie was a box office success in almost the entire world and became the hope of the global community regarding the end of the pandemic. Furthermore, at the institutional level, which includes the media, is Greta Gerwig herself as a film filmmaker. Warner Bros. is the production house for the 2023 Barbie Live Action film. Then there is Mattel as the company behind the production of Barbie dolls. Finally, at the social level, this film shows how patriarchy persists in reality, the social and cultural system of American society still adheres to patriarchal culture and neglects women's rights and protection.

Miike Takashi’s Crows Zero and adaptive authorship revisited

Abstract This article contributes to the scholarship on Japanese director Miike Takashi, who has gained increasing international recognition over the past two decades. Through a case study of Miike’s manga-inspired live-action film, Crows Zero (2007), I delve into specific aspects of the film’s settings, especially poetry and linguistic sings, to explore authorship from a comparative perspective and its manifestation in transmedia adaptation. This analysis draws upon Thomas Leitch’s concept of adaptive authorship and rethinks the historical dichotomy between the auteur and the metteur-en-scène, as originally delineated by François Truffaut. By arguing that Miike’s role in the film is neither a mere adapter lacking creativity nor a consistent artist, and by highlighting instances of directorial authorship in the film’s nuanced details, I question the tendency in film studies that adaptive authorship is often overshadowed by, and eventually integrated into, auteurship to the point where it can only be examined within broader auteurist analyses. Thus, this case study underscores the advantages of an adapter-based approach over an auteurist one, suggesting that moving beyond the doctrines of consistency and coherence may facilitate the identification of authorship from different perspectives.

Mulan’s Cultural Journey to the West: From a Chinese Heroine to a Globalized Figure

Disney’s live-action Mulan (2020) was adapted from the animated Disney film Mulan (1988) and has caused heated discussion after its release. The film successfully wins the Western market because it incorporates Western elements, such as the image of the Xianniang from the legendary story. However, Chinese audiences fail to fully accept the rewriting of traditional Chinese heroine in this live-action film because it partly subverts the content of Chinese legend. From the perspective of Said’s Orientalism, this paper discusses the interpretation of Chinese elements in the film, such as Phoenix, qi, and the traditional Chinese ethics of loyalty, courage, truth, and filial piety, intending to reveal the operation of cultural capital in the international cultural market of film and television in a more comprehensive way. This paper will further discuss that the canonization of Mulan sheds some enlightenment on how to introduce more Chinese literary works into the world as part of world literature.

Animation and the visualization of subjective experiences in Ninjababy

This article explores how animation has unique abilities to portray the emotional lives of characters in concise, accurate, reflective and engaging ways. It does so through a close reading of the experimental Norwegian film Ninjababy (), about Rakel, a young woman who, discovering that she is six-and-a-half-months pregnant after casual sex, decides to put her baby up for adoption. In Ninjababy, animation is combined with live-action footage and used to illustrate interior states of mind that live-action film cannot show. The article also discusses how the use of animation makes Ninjababy particularly fit to address sensitive topics like sexuality and mental health in secondary education.

The Poetic Fables and Realistic Dilemmas of Disney's Live action Film “Mulan”

This article takes the 2020 Disney live action film “Mulan” as a case study to analyze the exploration of women in Niki Caro's works. On the one hand, this film uses unique visual symbols and emotional expressions to compose a poetic fable about women's awakening. On the other hand, it is difficult to break free from the "male standard" in the text and the "compromiseism" in business. With the help of this chain from various angles, one can glimpse the contradictory situation of female film creation at present.

Social Media Communication Strategy and User Behavior Analysis of Film IP from a Cross-cultural Perspective

This paper uses the live-action film "Barbie" as an example to explore the strategies and analysis of user behavior in the social media communication of film intellectual property (IP) from a cross-cultural perspective. First, it introduces the concept and characteristics of social media marketing, including establishing marketing points and trust, sharing content with readers, and building interactive relationships with customers. Next, it analyzes the current situation and characteristics of film marketing and summarizes the development stages of film marketing. Then, it proposes social media marketing strategies based on the film's content, the audience, and the business model, including topic marketing, event marketing, word-of-mouth marketing, and emotional marketing. In addition, it explores the problems faced by film social media marketing. It puts forward corresponding countermeasures, such as innovation in marketing models, integration of online resources, and rational planning of market schedules. Finally, it summarizes this research's primary results, innovations, and prospects for future research directions. This study is significant for film IP's social media communication strategies and user behavior analysis, providing valuable references for the film industry.

Aladdin——The Live-Action Version: A Feminist Revolt Against Patriarchy

The live-action version of "Aladdin" (2019) is based on the 92nd edition of Disney's animated film of the same name, giving the audience a great visual treat. As a work in the Disney series, the image of the princess in the live-action version of "Aladdin" is one of the major attractions of the film. Disney's portrayal of princesses is varied. From a feminist perspective, the early images of the princesses embodied the patriarchal and husbandly expectations of women, which is a kind of expectation for women. With the public's understanding, Disney's character and image of the princess have become more diverse. With the advancement and development of feminist thought, the princesses of this period got rid of the constraints of a patriarchal society to achieve more individual autonomy. Aladdin" in the "Princess Jasmine" is the Disney company to change the image of a trend. Based on the text of the live-action film Aladdin, this paper uses deconstructionist theory as the main research method and feminism as the focus of inquiry to investigate the shortcomings of Disney's traditional dichotomous narrative in the modern viewing environment. The purpose of this paper is to explore the evolution of feminism over time and to summarize the development of feminism to date. It is concluded that the live-action version of Aladdin challenged the patriarchal status quo, deconstructed the male/female dichotomy in early princess films, and represented feminist values as a film that achieved mainstream success. The film showed how filmmakers struggled with stereotypical images of women in making the film and provided a strong role model for young women to understand that women should not be tied to the home but should find their own meaning. From a feminist perspective, the live-action version of "Aladdin" breaks the patriarchal mold of previous Disney princess films and provides audiences with a strong, self-reliant female figure.

Joseph Campbell’s Oriental mythology in Ghost in the Shell (1995) and Occidental mythology in Ghost in the Shell (2017)

Adaptation studies in media have been carried out for decades since the 1950s. When media is adapted between different forms, the narrative inherently changes; even more so when they cross a cultural divide between Japan and the United States. That is precisely the topic of discussion between the anime Ghost in the Shell (1995) and its live action film adaptation Ghost in the Shell (2017). With narrative being a key focus for comparison in this article, Joseph Campbell’s Hero’s Journey is applied. Taken from his seminal work Hero with a Thousand Faces, the theory of the Hero’s Journey has been the go-to reference for monomyth studies for decades which identifies the parallelism and common themes in diverse stories, from classic myths embedded in ancient cultures to film and other contemporary media based on popular culture. Yet, most studies stop there, and do not consider bringing in Campbell’s other works—namely his follow-up collection of books The Masks of God which delves deeper into the mythologies of various regions. His books, Oriental Mythology and Occidental Mythology, zeroes in on the myths in the East and West, which would aid in conducting comparisons between materials originating from the two opposite regions, further supplementing its usefulness in adaptation studies concerning Japanese anime and their corresponding Hollywood adaptations. This article covers the changes in narrative themes corresponding to Campbell’s Oriental and Occidental mythology between the anime Ghost in the Shell (1995) and its live action film adaptation Ghost in the Shell (2017).

Lip Synchrony of Bilabial Consonants in the Lithuanian Dubbed Live-Action Filma Dog's Way Home

AbstractThis article explores the intricate nature of lip synchrony in dubbing as an audiovisual translation mode, highlighting its significance beyond aesthetic considerations. Often overlooked during the translation process for dubbing, the mismatch between auditory and visual signals caused by unsynchronized lip movements can have a negative impact on speech perception. Moreover, with the constant rise of audiovisual content, achieving satisfactory lip synchrony remains a crucial challenge that demands attention. Although scholars such as Fodor (1976) and Chaume (2012) have recognized the importance of bilabial consonants in maintaining lip synchrony, there is a notable research gap specifically focusing on this aspect within the Lithuanian dubbed industry. To address this gap, this study investigates the lip synchrony of bilabial consonants in the Lithuanian dubbed version of the live-action filmA Dog's Way Home(2019). By employing a comparative research approach that integrates qualitative and quantitative analyses, the study draws on theoretical perspectives presented by McGurk and MacDonald (1976), Fodor (1976), Chaume (2004, 2012), and Koverienė (2015). The analysis of the cinematographic shots reveals that only a small percentage (19%) of the bilabial phonemes in the source language utterances were visually prominent instances, and consequently chosen for detailed examination of lip synchrony. This finding suggests that strict adherence to lip synchrony may not be crucial in numerous instances, allowing translators to have greater flexibility in their approach. The target language utterances demonstrate a relatively high percentage (approximately 76%) of synchronous cases for bilabials, particularly in proper names and international words. However, the research also reveals additional 94 instances of bilabials in the target language that were not found in the source language utterances, leading to dischronemes. Therefore, audiovisual translators are urged to consider not only how to maintain the lip synchrony of bilabial consonants in the target language, but also how to avoid the emergence of new bilabials.

Chinese Elements in Film Mulan (2020) and Its Intercultural Transmission

This paper aims to analyze Chinese elements and their intercultural transmission in the film Mulan. Disney's live-action film Mulan set off a global craze after its release in 2020. A large quantity of Chinese elements appeared in the film have aroused foreign audiences’ interest, attention and heated discussion, thus spreading Chinese culture worldwide. Based on Stuart Hall's Encoding and Decoding theory, this paper finds that the film reflects both material and spiritual cultural elements of China, such as tulou architecture (the earthen buildings constructed in Fujian province in southern China), traditional clothing, kung fu. However, the results of the study reveal that the film encodes and decodes these elements at various levels so that it produces different cultural psychology for the target language audience. Therefore, in the process of intercultural transmission, appropriate methods, including in-depth exploration of Chinese elements and correct encoding and decoding, must be adopted.

Prejudice in Films in Cross-Cultural Context: Take the Example of Mulan

International communication has become more and more frequent in recent societies, but misunderstandings and miscommunication due to stereotypes inevitably exist in cross-cultural exchanges. Therefore, this paper would analyze the live-action film Mulan, a Chinese story told by Disney that reflects the stereotypes of Chinese culture from the Western perspective. Due to the cultural differences between China and the U.S. (such as the different pursuit of individualism and collectivism), the filmmakers’ misunderstanding of the story, especially the important plot of Mulan replacing her father in the army, Disney sets the core viewpoint of the story as Mulan pursuing proving herself, instead of the traditional Chinese culture’s understanding that Mulan makes the decision to take her father’s place in the army for the sake of her family and the country’s collective interests. There are many other stereotypes in the film, these stereotypes have caused dissatisfaction of Chinese audiences with the film. The paper gives some suggestions to improve the acceptance of cross-cultural film and television works in the local market, like investors can choose local market cultural figures as the film’s main producer. The film producer should be rigorous in the examination of local culture and it is better to choose the local language for the dubbing of cross-cultural films. This paper profoundly analyzes the situations and causes of misunderstandings and deviations in cross-cultural communication and provides suggestions, which to a certain extent improves the efficiency of cross-cultural communication and cross-cultural film and television production in future.

Audio Visual Presentation and Effect Analysis of Animation Film and Live Action Film of Mulan

Based on the application of visual effects and auditory design in the film creation process of the Disney animated film and the live-action film Mulan, this paper analyzes the different plastic art styles shown in the two films due to the different visual elements of the shots, and compares the different application of montage language in the two films in the combination of shots and images. As well as the different characteristics of subjective music in the guidance of shots and the comprehensive use of original sound and dubbing, this paper expounds the audio-visual language characteristics of animated films that are different from live-action films. Starting from the audio-visual language strategy of animated films, this paper discusses the distinctive characteristics and rules of audio-visual language of animated films in exaggerated modeling, montage free narration and auditory design of "first sound and then painting", reveals its essential characteristics of "exaggeration" and "freedom", and explores the unique artistic charm of animated films.

The Characterization of Hua Mulan in Disney’s 2020 Live-Action Mulan

Disney's 2020 live-action film Mulan is remade of the 1998’s cartoon version, with several changes, including the characterization of the main character. This study aims to investigate the characterization of Hua Mulan as the main female character in Disney's 2020 Live-Action Mulan. Using the qualitative interpretive method by Miles, Huberman, & Saldana (2014), the research was conducted in four simultaneous processes: data collection and condensation, data display, and conclusion drawing/verification. This research revealed that Mulan is a village girl who was reckless, brave, strong, and often acted like a boy. When Mulan grew up, she became a brave and tough person who made she could protect herself and her family. Moreover, it reflects Mulan's independence which is represented by her ability to survive and fight alone for the sake of her family and empire. Furthermore, Mulan also had an extraordinary "Chi" power that made her a strong warrior. Her family and society also respected Mulan for her honesty in revealing her mistakes. The depiction of Mulan, who has a masculine character, implies that Disney's 2020 live-action Mulan can be used as a role model by the audience in protecting and loving those around them.

REPRESENTASI FEMINISME DALAM FILM LIVE-ACTION MULAN

The live-action film Mulan is one of the war action films in which it describes gender equality. In addition, in this film there is also a depiction of the struggle of a girl who is determined to prosper her family until she has to go to war to replace her father. Women are not weak, women can stand on their own feet and women can play the role of men, is a representation of feminism that can be observed in several scenes in this film. This study was analyzed using Charles Sanders Peirce’s semiotics which focused on finding out what scenes represent feminism in the live-action film Mulan. The method used to research this Mulan Film is descriptive qualitative; the data collected is in the form of words and pictures, not in the form of numbers. Depictions of gender equality are presented in several scenes in this film, including Hua Mulan is endowed with strong chi, Mulan is a free spirited woman, Xianniang is another female figure with strong chi, feminism in the stereotype of ideal women, women can fight like a men and women can be a leaders, where each scene describes the flow of feminism.

From ‘Trucfilm’ to ‘Animatiefilm’: How the Emergence of Animation as a New Artistic Form Is Reflected in Dutch Terminology

Before 1940, the influence of foreign films, filmmakers and film networks on film culture in the Netherlands was substantial. This article investigates how various Dutch professionals within the fields of film production, distribution, exhibition and reception referred to animation film, in a period when this term was not part of the Dutch language. From early on, animation film was recognized as being ‘intrinsically different’ from live-action film and, along with the gradual emergence of this new artistic form, a corresponding language to support it evolved, influenced by language contacts in various contexts in the multilingual landscape in Europe. From the first singular appearances in 1913, a more form-specific terminology had gradually developed by 1940. During the same time, animation film steadily proceeded to occupy its permanent place in Dutch film culture.

The Musical Arrangement of a Live-Action Film

The purpose of the study is to analyze the characteristics of a live-action film’s musical arrangement; to identify the impact of musical arrangement on the audience’s perception, on the example of the film composer Eric Serra’s works. The research methodology is to apply the following methods: theoretical – analysis of the music functions in making a film and the implementation of the director’s vision, generalizing the influence of musical arrangement on the viewer. Scientific novelty. The functions of film music that help in creating a live-action film were analyzed for the first time, a detailed analysis of the interdependence of music and visuals was made, by theoretical analysis of music functions; it has been found out how it affects the perception of the audience. Conclusions. In the article, we analyzed the functions of musical arrangement in a live-action film. Through the analysis of the influence of music on the audience’s perception, it has been established how the musical arrangement helps to realize the author’s vision. The role of music in making a live-action film has been researched. Through theoretical and practical research of various cinematography aspects that are relevant at the moment (in particular, the problem of the sound space in a movie), it becomes possible to reach a new aesthetic level of design, creation, perception and understanding of cinematic works.

Um Duplo Olhar Sobre As Imagens Animada e Filmada

This paper aims to analyze the dichotomy between the filmed (live-action) and animated images: the daily and night aspects of the images proposed by Gilbert Durand. This look comes from a study on real and animated images, presented in the doctoral thesis “The Representation of the Diegetic Imaginarium by Animation in Live-action Cinema” (2018). In this thesis, based on the concepts of “cool and hot media” from “Understanding Media” (McLuhan, 1964), one considers Animation a Cool medium, while live-action a Hot medium. Therefore, as McLuhan’s work looks at the image dichotomy from the communication domain, it is possible to complete the analysis on this axis through the concepts of Durand’s image. Thus, these concepts start directly from the imaginary studies. The methodology for such an analytical development is the case studies about films that use animated images to represent a part of their narratives. Analyzing them, considering these images by both aspects: in the field of communication (Hot and Cool Media), and the imaginary (daily and night aspect of the image). These analyses are a complementary look to the one presented in the thesis, along with they offer a double look to the study of the Audiovisual image.

A Comparative Analysis of the Women Characters Characteristics of Aladdin of Disney s ANIMATION and Live Action Film

A Comparative Analysis of the Women Characters Characteristics of Aladdin of Disney s ANIMATION and Live Action Film

3D Modeling for Kitchen Scene in a Hospital

This research focused on hospital diet management to explore the design of 3D models for kitchen scenes and the facilities of a hospital. Hospital diet management has standard operating procedures, but most people have never seen the kitchen environment within a hospital. Hence, the ongoing research highlights the foodservice procedure and makes a live-action film to complete 3D modeling and animated scenes within a hospital. This research applied the 3ds Max and other multimedia technologies in the medical and healthcare fields. The presentation of the virtualized scene and facilities is realistic and detailed. This research illustrates that the diet management process can be done quickly by 3D modeling and animation. It can also be applied to healthcare education and train new employees who need to understand the carrier’s details as soon as possible.

Appropriation, Rewriting and Alienation: A Postcolonial Critique of Mulan

Released in September, 2020, Mulan, a live-action film starring Liu Yifei, was adapted by Disney from the Ballad of Mulan[1]. The film was produced from its animated version Mulan (1998) which hit global box office amounting to 304 million with marvelous reputation. However, the live-action movie Mulan did not continue the brilliant results of the previous work. Instead, Mulan (2020) disappointed most Chinese audience[2] because historical facts and cultural values about Mulan were excessively appropriated, rewritten and alienated. Applying theories of Postcolonialism, this essay analyzes the live-action movie Mulan revealing the ethnocentric abuse of the target culture as the “other”: arbitrary appropriation, rewriting and distortion of its historical events and traditional values. Also, theories of popular culture will be used to analyze the cultural industry strategies applied in this unsuccessful film.[1]the Ballad of Mulan (Chinese: 木兰辞; pinyin: Mù lán cí), a famous folk song of the Northern Dynasty in China.[2]The investment in the live-action film Mulan is as high as US$200 million (about 1.4 billion RMB). As a result, the global box office is less than US$70 million. Also, the score in Douban is only 5.0 points. (the full mark is 10.)Sources:https://new.qq.com/rain/a/20201102A0J6EO00,https://movie.douban.com/subject/26357307/