Opening Scene Research Articles

Scene Deconstruction and Plot Setting of a Silent Film

This study dissects Chaplin's method of conveying a story through visuals in his 1921 silent movie, 'The Kid,' emphasizing scene analysis and plot introduction. A detailed discussion of sequences allows the research to illustrate how Chaplin makes meaning, creates a narrative, and establishes emotion solely through visual motion without words. The study uses several theoretical approaches, including film semiotics, narrative theory, and visual composition analysis. This paper examines how Chaplin employs framing, editing, mise-en-scène, and physical comedy to construct a highly symbolic and emotionally rich picture. Special emphasis should be placed on how Chaplin uses both comic and dramatic scenes hand in hand, sometimes even in the same scenes. Key sequences analyzed include the opening scene, which efficiently introduces the main character and presents the setting; the separation scene, an emotionally charged sequence of a man being left by his wife; and the dream sequence, a fantastic sequence in which Chaplin breaks the laws of practical reality to develop character psychology and depth of themes. The paper also explores how Chaplin develops visual motifs and employs repeated actions to unify the narrative and chart the character's growth. Moreover, it discusses how the film's visual analysis and symbolism respond to early twentieth-century social concerns such as poverty and the position of children. As such, this research is pertinent to exploring the silent film narrative and its legacy through analyzing Chaplin's visual strategies. 'The Kid' illustrates that this was the pinnacle of the silent film genre and how complex narrative and character development can be conveyed without using words. Moreover, this research reveals Chaplin's creative processes. It contributes to understanding the potential of visual narrative in Cinema, proving the significance of the silent film language in developing film language.

Reading-While-Walking: Books and Material Culture in Jane Eyre (1847) and Milkman (2018)

As with many Victorian novels, Charlotte Brontë’s Jane Eyre (1847) reflects and thematises society’s obsession with material culture. This article investigates the contrasting ways in which books are appraised in Jane Eyre, arguing that patriarchal authority and its imposed vigilance over female bodies appear to be connected to the ways in which its characters engage with books. To unpack this argument, I propose a close reading of the novel’s opening scene, in which John Reed confiscates Thomas Bewick’s A History of British Birds (1797–1804) from Jane Eyre and reclaims it as his own. Further, I propose an analysis of the intertextual relationship between Jane Eyre and Anna Burns’s Milkman (2018), a contemporary novel that posits the book as a contested object in the public space. In both novels, the protagonist/narrator finds in storytelling a way to circumvent the barriers placed over their access to books in early life.

Analyzing the Communication of Poverty Governance: A Study of Multimodal News Framing and Engagement on Chinese TikTok

Poverty communication is a critical yet challenging aspect of promoting sustainable development goals (SDGs) globally. This study explores poverty-related news narratives on Douyin (China’s TikTok) and examines their impact on user engagement (likes, shares, and comments). The primary objective is to refine communication strategies aimed at alleviating poverty. Drawing primarily on the news framing theory, this study analyzes 400 short-video news from Douyin in 2020 through regression analysis, complemented by insights from Chinese mobile news practitioners. Findings suggest that episodic-gain coverage, which emphasizes real-life scenarios and individual determination, effectively engages users. Visual framing devices, including action-driven and speech-driven opening scenes, captivate viewers and mobilize social support. Additionally, this study reveals that storytelling redundancy enhances news engagement by improving perceptual fluency in short videos. Moreover, tailored rhetorical strategies for short videos, such as subjective expressions and question-based headlines, further evoke the exchange of users’ social values. In conclusion, Douyin plays a central role in the ongoing process of media convergence in China. The study explores how platforms such as Douyin can promote SDGs, encourage public participation in addressing poverty and social care, and provide valuable insights for news content creators seeking to enhance storytelling and engagement in mobile media.

The Rhetorical Construction of Introductory Viewing in The Cinematic Film

Research studies address many aspects of the rhetorical construction of opening scenes in cinematic films, and among these studies it is possible to understand the rhetorical construction of opening scenes. The film is distinguished by its exciting and complex opening scenes that use many rhetorical methods to attract the attention of viewers and deliver the intended message. Here are some points that can be part of the rhetorical structure of introductory scenes. Use of image and sound: Image and sound are used innovatively in introductory scenes in the film to powerfully convey thoughts and feelings. Innovative filming techniques and appropriate sound effects are used to create an exciting and interesting cinematic experience. Tension and suspense: The opening scenes in the film are scenes full of tension and suspense. Many visual and audio elements are used to create an atmosphere of tension and suspense, such as exciting music and dynamic cinematography. Cinematic composition: Cinematic composition is used elaborately in the opening scenes of the film to convey the story and events smoothly and coherently. Editing and transition techniques are used expertly to create a cohesive narrative flow. Symbolism and Visual Symbols: Symbolism and visual symbols are distinctively used in the opening scenes of the film to convey deep messages and hidden meanings. Colors and visual symbols are used to give the viewer character and reinforce the message.

Anatomy of a Song

Anatomy of a Song

Enacting algorithms: Evolution of the algorythmics storytelling

Visual storytelling, particularly through dance choreographies as showcased in previous AlgoRythmics performances, has been effective in communicating relatively straightforward algorithms in an engaging and memorable way. Nevertheless, when addressing complex algorithmic concepts, an approach with greater expressiveness and flexibility becomes necessary. Consequently, this study introduces stage performances as an innovative solution, using cinematic representation to successfully convey and communicate these intricate concepts and processes. To evaluate the effectiveness of this approach, a short film was designed, produced, and showcased to a second-semester CS2 university course audience studying programming techniques. Following an opening scene that establishes the context, the subsequent three acts vividly depict ad hoc, greedy, and dynamic programming solutions in response to the posed programming challenge. After the screening, a questionnaire was administered, built on four key constructs of the Technology Acceptance Model, as well as other potential facilitating factors. The study reveals 100% positive perceptions of educational benefits, with the vast majority of students expressing agreement regarding the utility, enjoyment, engagement, creativity, filmic quality, and cognitive benefits of short films. Additionally, a remarkable 96% reported the intent to utilize this approach. Our subsequent Structural Equation Modeling analysis discovered that students whose learning styles were in sync with this approach demonstrated a robust correlation between their perception of the method’s value, their enjoyment of the process, and their overall attitude towards this pedagogical method. This study confirms the potential of visual storytelling through short films as an effective tool for delivering programming education. The findings provide valuable insights for computer science educators seeking to engage learners and convey complex information in an attractive and effective way.

Returning the King and the Women to the Beginning of the Song of Songs

Abstract The male lover portrayed in Song 1:2–4 was once ubiquitously considered to be a king. Recent interpreters, however, have understood the word “king” to be either a hypocorism (a nickname of affection) or an epithet for a “bridegroom.” Earlier interpretation also recognized a group of women in the opening scene, but this too is disappearing today. To address these exclusions, I present a close analysis of the grammar and offer an alternative perspective to what is identified as enallage (a substitution of one grammatical form for another) but which also inadvertently suppresses the women’s presence. Next, I investigate how the Song’s “king” became denuded of his royal meaning, including through a reliance on some dubious interpretations of Akkadian poetry. I also explore literary themes in the Hebrew Bible—women’s celebratory praise and a hitherto undiscovered case of subtle soundplay called “hidden paronomasia”—to show why the Song’s “king” should be understood as a royal personage. Finally, by comparing this scene in the Song to the Sumerian love poem Dumuzi-Inanna G, I show how the Song opens with a prominent ancient Near Eastern motif of love literature—the entrance or bringing of the royal consort into the palace, lauded by a group of rejoicing women.

PEMBARUAN UBRUG SENTRA AGATA MELALUI KOLABORASI: TELAAH BENTUK ESTETIS THE “UBRUG” RENEWAL OF SENTRA AGATA THROUGH C

The current study aims at (1) describing any collaborated arts elements in the ubrug renewal carried out by arts extracurricular activities of Sentra Agata in SMAN 2 Pandeglang Banten, and (2) analysing the aesthetic form of "ubrug” renewal using the principles of unity, theme, thematic variations, balance, evolution, and hierarchy. The techniques of analysis include doing ubrug-related library research, interviewing ubrug doers and arts academics, and applying aesthetic form theory to analyze the seen performances. The findings of this study demonstrate that renewals are carried out through “ubrug” collaboration with the arts of puppetry that is present as a source of stories, the narration of “murwa” puppet style in the opening scene, the figure of Semar in the form of “golek” puppets, and the arts of “bedug” in the composition of music for “tatalu” and “lalaguan”, the action of “ngadu bedug”, and “bedug rampak” at the end of the performances. The “ubrug” renewal through collaboration, correspondingly, justifies all principles of aesthetic form characteristic so that the blend of performance could be produced.

Horatio’s ‘mote’: mining a metaphor in Q2 Hamlet

Horatio compares the Ghost to a ‘mote’ that ‘trouble[s] the mind’s eye’ in the first scene of Hamlet, in a speech unique to the second quarto (1604). In this exercise in micro-analysis of a single line from Hamlet, I assess how this pithy metaphor helps create the texture of Q2’s version of the opening scene. Un-editing — or, more properly here, un-conflating — can help us realize something valuable about Q2 Hamlet, namely, that its opening scene does more than the opening scenes in Q1 or F to emphasize self-reflection and interiority as major themes. Further, Horatio’s pregnant comparison makes the figure of Old Hamlet morally ambiguous from the start by associating his appearance with feelings of guilt.

Abstract A007: Expanding clinical trial awareness among Black communities through digital engagement

Abstract Background: Black patients are less likely to be enrolled in clinical trials compared with White patients, resulting in reduced access to breakthrough treatments and limited understanding of treatment effect. Ineffective dissemination of cancer research, education, and interventions among the public contributes to cancer inequities. Dissemination rarely involves non-research audiences and end-users. We conducted community-engaged research through focus groups with Black community members and family members of cancer survivors. Through these efforts, we are creating a culturally responsive public service announcement (PSA) video to increase clinical trial awareness among Black audiences. Methods: We conducted 5 focus groups over two phases with 1) social support networks of Black cancer survivors (n=20) and 2) Black community members (n=30) to inform the PSA to be disseminated through media and public health outlets. A final focus group will be conducted to elicit video feedback after production. Phase 1 focus groups informed PSA content. Data was triangulated with qualitative data from Black women with breast cancer, oncologists, clinical trial staff, and advocates from a concurrent study about clinical trial participation. Phase 2 focus groups sought feedback on video content prior to production. Content and thematic analyses identified themes and recommendations. Results: For Phases 1 and 2, we used maximum variation sampling to recruit Black participants (n = 50) varied in age, geographic region, education, and gender. Phase 1 themes included: 1) clinical trial mistrust due to experiences of racism persists, but diminishes with younger respondents or those who participated in clinical trials; 2) clinical trial trust-building was associated with transparency from medical experts and information relayed by someone in the Black community and from clinical trial participants; 3) invasive procedures impact views on risks and benefits of participation; 4) messages that are not coercive, but support decision-making are more credible; and 5) sharing the PSA on social media with links to primary resources was recommended. Phase 2 participants reported that the: 1) storyline and script were informative, culturally representative, realistic, and understandable; 2) participants saw themselves in the characters and family dynamics; 3) opening scene should be altered to avoid racial stereotypes; and 4) storyline elicited desire to pursue additional information before making a decision about participation. The script triggered discussion about factors impacting low clinical trial participation and ineffective information dissemination to Black communities. The revised script integrated participant feedback; the video is under production. The PSA is planned to be aired on a national cable network. Conclusions: By eliciting and integrating feedback from Black community members, we developed a culturally representative and responsive PSA that facilitates agency for decision making and information seeking about clinical trials that can be widely disseminated. Citation Format: Eliza B. Cohn, Ryan Huu-Tuan Nguyen, Leslie Carnahan, Kauthar Salum, Neha Hippalgaonkar, Tigist Mersha, Ana Williams, Robbin Block, Kent Hoskins, Vida Henderson. Expanding clinical trial awareness among Black communities through digital engagement [abstract]. In: Proceedings of the 16th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2023 Sep 29-Oct 2;Orlando, FL. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2023;32(12 Suppl):Abstract nr A007.

PHILOSOPHICAL MEANING OF KLANA UDENG MASK MOVIE

Nowadays, the traditional art of masks from Indramayu can still be found in various art forms, such as mask dance and mask puppetry. In its development, the art of mask tradition was adapted to the medium of film. When adapted into the medium of film, the mask dance performance art changes its function to become part of the educational media and part of the cultural tourism promotion in fulfilling the need to maintain the existence of the traditional art of masks to remain sustainable. This research aims to see the changes that occur and the meanings that arise from the traditional art adapted from mask dance into a movie entitled Klana Udeng Mask and identify the philosophical meanings in the movie. To comprehend the changes and meanings from the traditional art adapted from mask dance into a movie entitled Klana Udeng Mask, the researcher uses qualitative research using visual semiotics. In this research, the movie Klana Udeng Mask is interpreted with a semiotic approach from Roland Barthes. The movie Klana Udeng Mask has a philosophical meaning about gratitude and maintaining the relationship between humans and God Almighty. This philosophical meaning is evident in the opening scene of the mask dancers praying to God Almighty and the closing scene of them performing grateful praying movements to God Almighty. Changes in semiotic meaning in the Klana Udeng Mask movie affect the visual signs of the elements in the movie.

“To All Baptized”: The Watery Dissent of Paradise Regained

ABSTRACT This essay reads the opening scene of Paradise Regained—in which Jesus goes down to the River Jordan to be baptized—in the contexts both of the intense seventeenth-century debates about baptism and Milton’s own stated support for adult, believer baptism (as opposed to infant christening) in De Doctrina Christiana. Especially in light of the crackdown on Dissenters after the Restoration, Milton’s decision to feature a scene of full-immersion adult baptism was a polemical one that expressed his tacit solidarity with the community of baptistic believers.

The Cross-cultural Analysis of Preschools Morning Opening Scenes in Three Countries: China, Japan and the United States

The Cross-cultural Analysis of Preschools Morning Opening Scenes in Three Countries: China, Japan and the United States

Leopoldstadt

Leopoldstadt

The Dwarfs

The Dwarfs

3D cinematic ontologies and narrative engagement

This paper is focused on analysing the uniqueness of stereoscopic 3D visuality and its more and more matured narrative potency in the digital incarnation. Drawing on Kracauer's classic remark (1961) that ‘the nature of film is the redemption of physical reality,’ first I argue for 3D's enhanced ability to (re)construct and recreate a perceptual ‘hyper-reality’ based on 3D's (actual or virtual) two-camera mechanism and its integration with digital technologies as well as High Frame Rate (HFR), 360 Degree Production, and 4 K/8 K. Furthermore, based on 3D's cross-parallax ontologies, I argue that the alternation or layering of flatness and depth in 3D visuality enhances 3D narrative by highlighting the dramatic qualities of characters and volumetric spaces. I eventually compare the 3D and 2D versions of the opening scene in Gravity (2013) to exemplify the unique and transformative mode of ‘3D realism’ – the immersive 3D stereoscopic hyperrealism.

“Une imprimerie, c’est comme un théâtre”: Victor Roger’s Thomas l’imprimeur (1843)

Thomas l’imprimeur, an 1843 drame mêlé de chansons by Victor Roger, took advantage of vaudeville conventions, which relied on language with multiple meanings and physical comedy, to comment on the Tarif of 1843, an agreement that Parisian printers and print-shop owners had made about establishing uniform rates for typesetting and composition. By reading Thomas with the Mémoires of Joseph Mairet, one of the printers involved in negotiating the Tarif, we can account for the play’s generic fluidity. The vaudeville-style opening scene prepares audiences for a degree of critical distance that allows them to see the Tarif behind a plot that acts it out rather than speaking of it, and the melodramatic virtue of the printer hero invites admiration for the social efforts print workers are making. Both approaches show the physical heroism of printers, whether or not they speak directly of the forms that heroism has taken most recently.

The credit titles, a rosetta stone of the cinematographic narrative

The opening scenes of any film are produced first in the sound plane, then in the visual one and set the horizon of expectation to the future audience3, offering it through a methaphor specific to the language of this art, the deep meaning of the film. We can also say that this visual discourse graphically coded in the form of credit titles, communicates to the audience’s subconscious all the necessary elements for the cinematic narrative to acquire the force of truth, to be truthful.. Thus, „a pattern” or „a key” is established that the audience will unconsciously resort to in order to understand the meanings of the cinematic discourse when the dramatic moments of the film define the destiny of the narrrated universe. We could say that these moments constitute the foundation on which the film narrative is built, the universe in which the characters will evolve, but also the sighn of their destiny.

Death of a Salesman

Death of a Salesman

You Were the Bird: On Petite Maman and motherhood

You Were the BirdOn Petite Maman and motherhood Georgia Cloepfil (bio) In the opening scene of Céline Sciamma's film Petite Maman, a young girl named Nelly moves from room to room saying goodbye to a series of unnamed women, all gray-haired residents of a senior care center. Behind the last door, Nelly finds her own mother, Marion, tidying up in her recently deceased grandmother's all-but-empty room. Her mother takes a seat and overlooks the grounds of the facility. There is a gulf between the threshold of the door, where Nelly stands, and that of the window, where her mother contemplates the reality of her new role as a motherless mother. The movie's title pans across Marion's back. Perhaps for the first time, Nelly is glimpsing the ocean of her mother's grief and experience–and she can't quite stretch across it. [End Page 74] One of the movie's strengths is its ability to lay bare a moment of realization that all young people have at some point: our parents were people (with loves, grief, ambition) before we came into the world. They had mothers. We watch as Nelly recognizes that her own life overlaps with Marion's, but it will never run parallel; the procession of generations marches onward. When they finish packing up her grandmother's room and drive away, Nelly reaches toward her mother around the headrest of her seat and feeds her cheese puffs one by one as she drives. Then a little sip of apple juice. Then a hug. The tender opening scene reminded me of a passage I read (and underlined) in Anne Truitt's Daybook long before I had any plans to have children: Mary's son was born early this morning. After hearing the news, I lay back in the predawn dark and, as the tide of happiness receded, I saw that it had pulled out on some long, bare inner shoreline of myself and had made the slope glisten for the last time: Both my daughters are now mothers and in the proper nature of things more mothers of their children than they are daughters of their mother. We reside on an axis between mother and daughter until birth, death, or another dramatic event threatens to tilt us abruptly in one direction or another. There is a sense of inevitability but also a deep melancholy to this sentiment, and I worried for a long time about making my own mother feel its truth. I discover that I am pregnant on an August morning. The test sits on my dining room table, its two decisive blue lines bisecting. The news is not a surprise, but it still brings with it a feeling that life has unexpectedly accelerated. To me, the passage of time has always felt like a fierce wind. It's something to take shelter from, something to brace myself against or evade. If I am not careful, everyone I love might be taken up by a violent rush of air and carried forward with me. The novelist Samantha Hunt once [End Page 75] Click for larger view View full resolution Joséphine Sanz and Nina Meurisse in Petite Maman. © Liles Films, courtesy NEON. [End Page 76] said that it makes sense to think of mothers as makers of death. She meant that we make our children's deaths. But I'm not there yet. What's inside of me barely feels alive, is barely felt. Embryonic and invisible, the pregnancy still seems like the impetus of some other change. Even if it is "the proper nature of things," my becoming a mother means that my own mother is, suddenly, a grandmother. I have the sense that by becoming pregnant, I am singlehandedly ushering my mother toward the next phase of her life and then toward her death. My worry hardens into fear. The week after I tell her that I am pregnant, my mother's mammogram reveals a tumor in her right breast. She waits weeks for news, for surgery, for a plan. In the silence she can barely sleep, and neither can I. Rationally, I know that the...