Love Story Research Articles

Fashioning the intimate: a cartography of autobiographical French documentary film

ABSTRACT In the 1980s, the French documentary field opened up to a number of autobiographical practices which redrew the frontiers of the cinematic landscape. L’Heure exquise (‘The exquisite hour’) (René Allio, 1980), Lettres d’amour en Somalie (‘Love letters in Somalia’) (Frédéric Mitterrand, 1982) and Mourir à trente ans (‘Dying at thirty’) (Romain Goupil, 1982) are the notable signs of this change. This shift was confirmed in the years that followed, as borne out by La Pudeur ou l’Impudeur/Modesty and Shame (Hervé Guibert, 1992), Rome désolée/Desolate Rome (Vincent Dieutre, 1995) and Je suis venue te dire (‘I came to tell you’) (Laetitia Masson, 1997), to name but a few. These films are investigations and confessions that tell stories of love or sickness, happiness or sorrow. Faced with grief and reparation, the act of creation is motivated by a quest and a recovery of the self. In the 2000s, initiatives diversified, based (sometimes politically) on the societal context of the period within which the filmmakers worked (family, genre, etc.). In this article, the author assembles a three-stage filmic cartography and defines issues at stake in this intimate autobiographical dimension forged over 40-odd years by French documentary films.

(INTER)FACING EMPATHY:

Screen technologies, ranging from the cinema to the smartphone, are taken for granted in the contemporary screen landscape. This landscape has been referred to as the “screen-sphere” (Sobchack 2014) owing to the fundamental ways screens affect how people understand and relate to the world around them. It is particularly their structural and operative functioning as interfaces that influence not so much how we use screens, but, more importantly, how they affect our communication with and feelings towards others. In so doing, the screen as an interface profoundly transforms people’s capacity for empathy. This article exposes the intersection of the screen and the face of the celebrity persona in an artwork by Candice Breitz titled Love Story (2016). Since the installation focuses attention on the faces of its subjects, it utilises the enormous power of the face in generating empathic responses. More specifically, the face of the celebrity persona cultivates both fascination and empathy in this work. Through a close analysis of this installation, I aim to show how empathy can be controlled and manipulated just as much as it can be compromised due to our screen-based day-to-day practices and our interactions with the faces of others. This article also demonstrates the crucial role that an artwork can play in raising awareness about the consequences of screens on our empathic resonance with others.

‘Bridal Outfits from the Heart of Filmland’: Clothes Rationing, Wartime Film Production and Gainsborough Pictures’ Studio Hire Service

This article explores the Studio Hire Service, a wardrobe ‘pooling’ scheme set up by Gainsborough Pictures at the Shepherd’s Bush film studio following the introduction of clothes rationing in 1941. The Service enabled producers to hire rather than purchase items of clothing for use in their films, saving them money, reducing the number of new outfits required for each production and allowing clothing coupons, which film-makers were expected to use sparingly, to be spent on only the most important or unusual costumes. Vital to the production sector in wartime Britain, the Studio Hire Service also played a notable role outside the film industry, not least in that it loaned outfits – including those worn by major female stars in films such as Love Story (1944) and Waterloo Road (1945) – to women for them to use as wedding dresses. In the last years of the war and the early years of the peace, hundreds (and possibly thousands) of British brides were married wearing a film-studio dress. The contribution that costume made to contemporary enjoyment of many of Gainsborough’s most famous films has been noted by scholars; this article shows that some of these same costumes also had a significant role to play in the real-world experiences of many ordinary Britons, offering access to a glamorous bridal outfit in a period of widespread sartorial scarcity and providing a noteworthy example of the way in which the bond between the picturegoer and the cinema extends beyond the auditorium.

Revisiting Colonial Encounters in Maitreyi Devi’s It Does Not Die: A Romance: A Postcolonial Perspective

The Indian novelist, Maitreyi Devi’s account of her love story with Romanian novelist, Mircea Eliade came out in 1974 as Na Hanyate in the Bengali language and its English version was titled It Does Not Die in 1976 by the author herself. Following Nirmala Menon’s critical insights on Bhabha’s (post)colonial hybridity discourse, this study aims to reinterpret the novel as an illustrative text of postcolonial “interrogative hybridity.” Devi employs hybridity in such a way that it unsettles a linear narrative with constant shifts in focus and style. It is upheld that her ingenious hybridity originates from her position as an off-center postcolonial female writer who critiques colonial stereotypes and mimicry by revisiting/challenging colonial discourse constructed against the colonized by the colonizers. Hence, the study explores how her novel is a postcolonial hybrid counter-narrative text to colonial fantasies. To conclude, postcolonial hybridity can only problematize colonial individuations and representations, if it reverses the seemingly sound effects of colonial discourse in such a way that “other ‘denied’ knowledges” enter upon the dominant discourse and estrange the basis of its authority—its rules of recognition.

Study on the Evolution of Endings and Genre Conventions in the Yingying Love Story

Study on the Evolution of Endings and Genre Conventions in the Yingying Love Story

Shah Abdul Latif Bhittai & Status of Women: Status of Women in Shah Jo Risalo; an Idealized Portrayal of Sassui in Shah Abdul Latif Bhittai's Sur Sassui Aburi

Shah Abdul Latif Bhittai's depiction of Sassui in his poetry serves as a powerful call to women in Sindh in particular and the rest of Latif’s audience, in general, to break free from societal constraints. Sassui's tragic love story symbolizes the struggles faced by women in pursuit of true love, yet her unwavering determination, faith, and loyalty remain unshaken. This research focuses on the portrayal of Sassui in eleven Dastans from Sur Sassui Aburi, translated by Sheikh Ayaz. Shah Latif's representation of Sassui across five Sur of Shah Jo Risalo inspired women across the subcontinent, particularly in Sindh. Through qualitative thematic analysis, this study explores Shah Latif's efforts to amplify Sassui's voice beyond his era, showcasing his feminist perspective and vision. It aims to inspire contemporary Pakistani women to stand up against the regimented norms and defy the social, psychological, and legal barriers that restrict their liberties and will.

Rejecting Rochester: C. French Richards and the Queer Legacy of Jane Eyre

ABSTRACT In September 1864, The New York Times ran a brief advertisement for a new novel titled John Guilderstring’s Sin, declaring it “an intense and passionate love story, in the ‘Jane Eyre’ style.” By so labelling the novel, this advert presented its author, C. French Richards, as a member of the “Jane Eyre school”: a term coined by Godey’s to describe the host of successful American women authors who rewrote Charlotte Brontë’s iconic plot for a largely conservative antebellum and wartime audience. Richards, however, failed to attract the popular following of her fellow “Jane Eyre” authors, who typically sanitised Brontë’s hedonistic hero and doubled down on the rewards of the marriage plot. Richards distinguishes herself by writing a “Jane Eyre” novel that rejects rather than embraces heteronormative romance. She presents her own Byronic male lead, the titular John Guilderstring, as a corrupt, undesirable choice for her consciously androgynous heroine, Mattie, whose chivalric courtship of women serves as an antidote to his predatory behaviour. By presenting Mattie’s navigation of queer womanhood and toxic masculinity via a rewriting of the widely read Jane Eyre, Richards defies the American “Jane Eyre school’s” stranglehold on Brontë’s text.

Reproducing Memories and Portrayal of the Concept of Virginity in Turkey through Orhan Pamuk’s The Museum of Innocence

The Museum of Innocence (2009) delves into love and everyday objects of love to explain the country's cultural emissions and political issues due to cultural contradiction with few characters in the novel. The novel is planned as a love story but is written in a decidedly unorthodox narrative style. The narrative is focused on the lovers' connection and revolves around Kemal's alterations due to his love for Fusun. He brings the supernatural close to the material, combining them most unexpectedly. Pamuk's construction of the actual museum in the memory of Fusun was discussed. Pamuk spoke about the memories of Fusun in Kemal's story narration with the portrayal of cultural indifference in Turkey. Further, this paper brings out the clash between fundamental traditional Islam and modern secularism by portraying the westernisation lifestyle of Istanbul's bourgeois society. The research paper concentrated on women's status and depicted the concept of virginity.

Analisis Resepsi Penonton Mengenai Hubungan Beda Agama dalam Film Akhirat: A Love Story

Films do not become a reflection of reality in a real building. This research is in progress to find out the reception of the film Akhirat: A Love Story in Jakarta, the plot of the film Akhirat: A Love Story which addresses the issue of interfaith marriages. The theory used in this research is the theory of encoding and decoding. This research uses qualitative accession with reception analysis method. The results of this research show that the four informants in this research agree that Akhirat: A Love Story is a film that has a narration as strong as that of a different religion. On the other hand, the three informants in posizi oposizi aka this film also reflect on the causes and effects of religious entities that are embedded in an image of romance. According to the informant, Sanghe is in a position of negotiation, takama, describing the blessing of parents, as well as the struggle of appearances of different religions is described in a sequence of psychological and physical conditions. Informants in the dominant position of ipsuttu akaa who do not approve of romantic relationships of different religions are wise liars.

Tribal Social Life Reflected in Bishnuprasad Rabha`s Novel `Mising Koneng: A Study

Assam’s social, cultural, economic, political, etc. One of the people to be taken in writing is Bishnu Prasad Rabha. Bishnu prasad Rabha is known in the society as a lyricist. He was a novelist, lyricist and storyteller. A social novel written by Rabha Dev on the basis of the people is missing koneng novel. This novel is a mising village novel. The national history of a nation can be found in the national activities of that nation, festivals, songs, etc. Among the national events of the Misings are ‘Ali-Ai-Ligang’ and ‘Porag’ festivals are their traditional festivals. Traditionally celebrated ‘Ali-Ai-Ligang’ and ‘Porag’ festivals are agricultural festivals of the Misings people. On the evey of the arrival of spring, Ali-Ai-Ligang, an ancient festival carried by Bordaisila Jak, which passes through the bosom of Assam, brings joy, happiness and prosperity to the Misings. Bishnu Prasad Rabha Mising Koneng gives details about mising folk festivals in the novel.Among the national events of the Misings are ‘Ali-Ai-Ligang’ and ‘Porag’ festivals are their traditional festivals. Traditionally celebrated ‘Ali-Ai-Ligang’ and ‘Porag’ festivals are agricultural festivals of the Mising . On the evey of the arrival of spring, Ali-Ai-Ligang, an ancient festival carried by Bordaisila Jak, which passes through the bosom of Assam, brings joy, happiness and prosperity to the Misings. Bishnu Prasad Rabha narrates the details of mising folk festivals in the novel Mising koneng.BishnuPrasad Rabha is a worshipper of love. So maybe love is expressed individually in the novel Mising koneng. The novel narrates the love story of kumong and heroine Parasli and later the mindset of their married life. The context of the novel is a mising society and the timing of the 20th century. By the advent of the 20th century, the anti-British position created across India began to increase greatly. The swirling winds of independence that passed through the hearts of the people of India had raised the skies of Assam. Our birth condition of freedom. In view of these aspects, the research paper has been prepared for the purpose of discussing the novel Mising Koneng.

Romance as a medium-Lin Huiyin’s relationships in transmedia intertextual discourse

ABSTRACT Lin Huiyin (1904–1955) was the first woman architect in modern China. Her romantic love stories have shaped a discourse that, for optimal engagement, both provides and requires transmedia and intertextual media theories. This research examines Lin’s romantic stories that entangled with her career and life, from the perspective of media ecology, narrative, and gender studies. I argue that although the Chinese media environment is censored, constrained, and scrutinized, given enough time and movement among multiple platforms, a medium can shape its own ecology and develop “organic” discussions on a subject that is commonly perceived as less political and more humanistic, particularly romantic love. These discussions provide a more spontaneous discourse for media users to share their opinions and expose more genuine views on gender, nation, and morality. These topics require continuing conversations rather than didactic education to change. Although change usually does not occur quickly, the airing of genuine yet problematic opinions helps the public and stakeholders observe, identify, and interact with them and create the possibility to reshape public opinions on gender roles, particularly women’s roles in romantic discourse, which always interacts with women’s individual realization as well as professional, familial, and social relationships.

A Bildungsroman in Ama Ata Aidoo’s Changes: A Love Story

Changes: A Love Story is a Bildungsroman novel written by Ama Ata Aidoo, and it was published in 1991. A Bildungsroman novel that focuses on the psychological and moral growth of Esi, the protagonist. The Changes: A Love Story follows the life of Esi Sekyi, a Morden Ghanaian woman who struggles to balance her career, marriage, and personal identity in society. Esi divorces her husband, Oko, because he raped her without her acknowledgement. Then Esi entered a polygamous marriage with Ali Kondey, he is a successful businessman. Then Esi soon realizes that her new marriage life does not give her freedom, happiness, or what she expected, and she also faces criticism and is kept apart from her family, friends, and society. Then she learns more about herself, her cultural values, and the value of her life. And it was published in the feminist press.

Zubaidah Bint Ja’far and Her Effects in Cultural, Artistic, and Social Life in Her Period

Baghdad emerged as a thriving city in the early era of the Abbasids and renowned for its affluence and cultural advancement during the caliphate of Harun al-Rashid. Notably, women belonging to the upper echelons of society, including but not limited to the caliph's consorts and concubines, assumed active roles in both society and politics. Zubaidah bint Ja’far, the wife of the Caliph Harun al-Rashid, was an influential woman who utilized her position to engage in philanthropic activities and contribute to the development of society. Their love story has become famous and Zubaidah, with her intelligence and beauty, fascinated the Caliph and influenced his decisions. Zubaidah was also recognized for her generosity towards scholars and poets. Her life and contributions to the era are documented in historical texts and literary works of the time, such as the Thousand and One Nights Tales. This study aims to examine the life and achievements of Zubaidah bint Ja'far during the Abbasid era, focusing on her contributions to politics, society, and literature. She played a significant role in the administration of the state alongside her husband, and served as inspiration for poems and tales in Thousand and One Nights collection. The analysis of the Thousand and One Nights Tales involved using a descriptive method and historical research to present how her personality is perceived by people of her time and emphasize her lasting legacy.

Arransemen Lagu Anak Sekolah

School children's songs are Indonesian pop songs created by Oddie Agam which contain love stories during school. The aim of this work is to create a work in the form of school music. In this work, the arranger works on school children's songs in the form of school music and then combines them with a touch of drumband to form a new arrangement to be performed. The nuance of the arrangement will be packaged cheerfully and cheerfully. This "school child" work is an expression of the author's self in a form that is realized in 3 parts, based on the development of the "school child" song and the session percussion pattern, which appears in a series of rhythms and sentences using the composition techniques that have been created. as a binder for this work.

A Himalayan Love Story: Navigating Love, Loss, and Fate

The Paper presents an analysis of Namita Gokhale's novel "A Himalayan Love Story" and its exploration of universal themes such as love, loss, and fate. The background of the study lies in the innovative literary expression of Indian writers, with Namita Gokhale being a prominent figure focusing on contemporary Indian society and women. The research problem centers on the portrayal of characters navigating through love, loss, and societal constraints. The aim is to analyze the journey of the protagonist, Parvati, and the implications of societal norms on her life. The methodology involves a qualitative analysis of the novel's characters and their experiences. The participants are the characters in the novel, set in the backdrop of the Kumaon Hills. The results reveal the characters' struggles with societal expectations, desires, and the inevitability of fate. The implications highlight the power of love in the face of adversity, as well as the limitations imposed by societal norms.

Manifestations of the Utilization of the Magical Realism Technique in John Updike’s Novel Brazil

Although an obsessive meditation on a multiracial society, John Updike's Brazil is a magic-saturated reworking of the most romantic love story of them all, the Celtic legend of Tristan and Iseult. Apparently, Updike uses the medievalist legend as a vehicle to explore some typical Updikean themes: the social politics of love, class conflict, the question of gender and patriarchy, immorality and violence, etc. This paper is an attempt to point out how Updike digs into myth and uses the techniques of ‘magical realism’ to weave a narrative of his two young Brazilian lovers, Isabel and Tristão, who try to stay together despite various forces that conspire to keep them apart, notably opposition from their families. Updike's utilization of ‘magical realism’ will be analyzed in light of the five primary characteristics of this mood as suggested by Wendy B. Faris in her seminal work Ordinary Enchantments: Magical Realism and the Remystification of the Narrative. This paper is also meant to highlight how Updike's use of this device gives him an opportunity to hypothesize about the social and emotional consequences of a reversal of races. It is here that the link Updike creates between the indigenous peoples and the characters becomes key, for it allows the central characters, Isabel and Tristão, to experience the magic, and thus finally delve into what race means in their lives and for their identities. This paper argues how the characters manage, through magic too, to explore ethnic identity; an identity they previously ignored or abandoned. For all, this abandonment has negative consequences, leading to their devaluation of self. Isabel thinks that her being black and Tristão being white will solve much of their problems, but in reality it only makes them worse and Tristão ends up killed in the end.

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.

Ion Creangă’s creation in the vision of director Ion Popescu-Gopo

The Romanian director Ion Popescu-Gopo (1923-1989) remained in the history of world cinema as the creator of the Little Man, which became his brand in the field of animation. But his creation is rich enough, including not only animated films, but also fiction films. He is the only director, who in the years ‘60-’80 dared to interpret the stories of the classic of our literature Ion Creangă, starting with The Story of Harap Alb (The White Moor, 1965), The Story of the Pig,(The Story of Love, 1976), The Old Man’s Daughter and the Old Woman’s Daughterl (Maria, Mirabela, 1982),The Bag with Two Coins (The Wager, 1984). The director re-reads the writer’s stories from a modern cinematic perspective, experimenting not only with the ideational message, but also with the production techniques, combining the actors’ play with animated images (Maria, Mirabela or The Wager).

Attribution of Character "Jian Xiaocong's" Infidelity in Junils' Narrative

"The Boy Who Sings Love Songs, Please Don’t Be Sad," published on July 1, 2010, by Chunfeng Literature and Art Publishing House, is a work of author Junils. This book narrates the obsessive love story of Jian Xiaocong. "Infidelity" traditionally refers to words or actions deviating from principles or exceeding established boundaries. In modern context, it typically denotes the act of one or both parties in a committed relationship or marriage engaging in intimate relationships outside their vows to fulfill emotional or sexual needs. The emergence of infidelity is linked to the concept of marital contracts. Jian Xiaocong had been in a three-year romantic relationship with He Wangchuan, whom she met in college. He Wangchuan was known for his strong personal abilities, academic excellence, and a stable, well-paying job post-graduation. His heart was solely devoted to Jian Xiaocong, making him an ideal marital partner. Yet, Jian Xiaocong chose to engage in an affair with Shen Zixiong, ending her three-year love story with He Wangchuan. Her situation was not one of enduring the tribulations of being cheated on. Nor was it a case of psychological warping caused by monetary influence or the pressures of a male-dominated society on women. The emotional bond she shared with Shen Zixiong was more about the undercurrents of desire hidden beneath personal secrecy.

The Ageing Self through Dramaturgies of Memory Loss and Love: Tristan Bernays’ Old Fools and Nick Payne’s Elegy

This comparative study of Tristan Bernays’ Old Fools (2018) and Nick Payne’s Elegy (2016) concerns two contemporary plays in which love manifested in middle-age and older adulthood is a determinant factor in the reconceptualization of the ageing self, particularly when afflicted by memory loss or cognitive failure. Positioned within the framework of theatre and ageing studies, and drawing from their intersection with gender studies and disability theories, the study demonstrates that the narrative arc that both texts recreate is not free of overtones of decline. However, the manipulation of chronological time in both plays through different techniques, as well as the importance of their love story, one between a man and a woman in Old Fools, and the other between two women in Elegy, help disrupt the binary of young/old perpetuated by ageist cultures, and, ultimately, undermine rigid constructions of identity in old age. The article concludes that new theatrical representations of ageing that develop narratives of love not only enable richer debates on the construction of the self, but ultimately contribute to an all-inclusive stage and, with it, to an age-friendly society.