Romantic Films Research Articles

Archaeology, Gender and Indian Tamil Films

This article analyses the depiction of archaeology and archaeologists in contemporary popular Tamil films made in India, including a focus on the gender portrayal of archaeologists in two films in particular – one an adventure film depicting archaeological activity and the other a romance film involving a male archaeologist. Content analysis shows that both films portray some similarities in how archaeology is presented and that male and female archaeologists are shown as professionals, but that the female archaeologist is still presented for, and objectified through, the male gaze. The paper contributes to the understanding of how archaeologists are portrayed in non-Western films, particularly among films produced in India.

Lapian (拉片): The disseminated professionalism and the co-constituted world

Current Chinese cinephilia has developed an obsession with what is known as lapian, a practice that consists of scholarly or professional analysis of films and a fascination with cinematic details both textual and inter-textual. What can be discerned through such a phenomenon are not only Chinese film aficionados’ love for cinema and movie going, but also their aspiration to participate in and contribute to the nation’s emerging film culture. Having originated in classrooms at Beijing Film Academy around 1958, lapian has been disseminated to the country’s myriad of film communities; together with it, is the professionalism of engaging films. Enabled by fan-based platforms on the Internet (especially social networking sites such as Douban, Mtime, and Wechat public accounts), the tactile nature in lapian broke down the barrier between professional film critics (as well as scholars) and ordinary film lovers. On the one hand, the proliferation of lapian among common viewers produces a discourse that competes with professional criticisms in China. Unlike the implicit elitism that pervaded the pre-Internet world of cinephilia (as well as its lapian practices), current Chinese film communities have appropriated the professionalism of film criticism for co-constituting a cinematic world that involves a greater population of film viewers. On the other hand, opportunities to comment on and discuss films on these more democratic platforms without formal qualification (such as certification of the author’s accomplished status in traditional journalism) encourages younger generations to pursue their dreams of filmmaking, film criticism, and film scholarship, which could seem impossible to them. Hence, lapian prepares the greater number of cinephiles to be not only involved in the film world but also actively constituting it.

Movie Recommendation System using Machine Learning

Movies are very significant in our lives. It is one of the many forms of entertainment that we encounter in our daily lives. It is up to the individual to decide whatever type of film they choose to see, whether it is a comedy, romantic film, action film, or adventure film. However, the issue is locating acceptable content, as there is a large amount of information created each year. As a result, finding our favourite film is really difficult. The goal of this research is to improve the regular filtering technique's performance and accuracy. A recommendation system can be implemented using a variety of approaches. Content-based filtering and collaborative filtering strategies are employed in this work. The content-based filtering approach analyses the user's history/past behaviour and recommends a list of comparable movies depending on their input. K-NN algorithms and collaborative filtering are also employed in this paper to improve the accuracy of the results. Cosine similarity is utilised in this work to quickly discover comparable information. The correctness of the cosine angle is measured by cosine similarity. People may quickly find their favourite movie content thanks to all of this.

Pinter and Film: A Brief Reflection on The Servant (1963)

Written by Harold Pinter, directed by Joseph Losey, The Servant (1963) was and continues to be a masterpiece. Restored in 2013 in honor of its fiftieth anniversary, I had the opportunity recently to see a screening of the film in a small theatre. Of course, the screening was pre-COVID.The film was introduced by James Fox, who plays the young, aristocratic master to Dirk Bogard's devious servant. He agreed to let me print his words in The Harold Pinter Review: Thank you for asking me to introduce The Servant tonight and for screening it. I'm delighted it still has such a permanent place in the affection of film lovers, after over fifty years.Many happy coincidences went into my being cast as Tony; Sarah was wanted for Vera, and we were going out at the time, Dirk had seen me recently in a TV play, my father, also my agent, was a partner of Leslie Grade, who supplied the needed funding for the film.More to the point, what are the factors that have given The Servant its enduring appeal? I am hardly qualified to add more than that, on reading Harold's script, I intuitively felt its power, drama, and entertainment value. And I think most of the credit must go to Joe Losey and the producers, who gave him the freedom to give us the treatment and interpretation he wanted.As we know, Joe was a fugitive in Europe from the American anti-communist purge.And something gave him an artistic perception into the English characteristics of Tony's incorruptible privilege and Barrett's personal, socially disruptive revolution. And what he delivered is a visibly and technically perfect rendering of dominance and submission, which has the power to affect us today. I hope you enjoy the film. The film did not disappoint, and it grows more relevant as the financial disparities among classes widen. It opens optimistically. Tony, the young, entitled, upwardly mobile member of the British upper class, begins acquiring the trappings of success. To oversee his recent trophies and treasures, he hires a servant named Barrett, brilliantly played by Dirk Bogard, who won a BAFTA for the film. Barrett not only becomes indispensable, he infuses himself into Tony's life. He brings Vera, played by Sarah Miles, into the house under the pretense that she is his sister. Barrett and Vera, however, turn out to be the serpents in Tony's idyllic garden. They quickly erode his will, leading him to a life of indolence and sin, all on his money, of course. Tony's fiancé, Susan, played by Wendy Craig, offers Tony one last chance at a “normal” life, but Barrett's powerful depravity overcomes her conventional morality within moments. The film ends with a hauntingly perverse image that may inspire viewers to go home and take a shower.What is remarkable about this effect is that the film was made while censorship was still in place, so all the depravity is suggested, implied, and nodded toward. The cinematography and direction are brilliant, and the film's restoration ironically brings out a brilliant crispness and clarity in a film that blurs the lines between and among class, gender, and power. If you have not seen It or have not seen it since its restoration, it is worth a look.

The Feel-Good Film

In film criticism, “feel-good films” are widely dismissed as intellectually undemanding and sentimental entertainment. This study identifies key characteristics, emotional effects, and aesthetic qualities of feel-good films from the audience’s perspective. Although the feel-good film does not appear to be a genre in its own right, it is more than just a rather vague category. Romantic comedy films with a substantial share of drama are shown to be the most prototypical feel-good genre blend. Fairy-tale likeness and perceived lightness were indicated as key characteristics of these films. Yet for all their focus on happiness and relaxation, the emotional trajectories also involve serious conflicts and are experienced as profoundly moving. Moreover, preferences for feel-good films differ greatly, depending on gender and age.

“Yo, dude! This chick is whack”: English exclamations in romantic films

This research investigates the forms and functions of English exclamations. By applaying qualitative and quantitative research methods, this research takes romantic films as the subjects. The result showed that in those films the exclamations functioned in the most frequent intensities are to show wonder, anger, surprise and pleasure. While the most frequent forms used are declarative, interjection + declarative, interjection, directive, and interrogative, respectively. These indicate that romantic films tend to express exclamations by declarative rather than other forms in which the context plays an important role for determining what is an expression as exclamation or not rather than the form itself.Keywords: form; function; exclamation

МЕТАМОРФОЗЫ КИНОКЛУБНОГО ДВИЖЕНИЯ ВЧЕРА И СЕГОДНЯ

The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education, in the forms of both spontaneous amateur one and complex state one, is considered as a source of methods and best practices to be implemented in modern media education. The article also explains the influence of film clubs and their repertoire on the distribution and popularization of cinema works, especially on the so-called festival and “shelved” films, limited in release then and now becoming a battleground between commercial and artistic priorities of the filming process. The text contains stories and descriptions of participants in the film club movement: the founders of associations, curators and critics. Their interviews make it possible to imagine a three-dimensional picture of the life of cinema lovers’ communities. The main milestones in the history of the film club movement in the USSR and in the world are traced: the formation in the 1910s–1920s, the decline in the 1930s–1940s, the revival of the international festival movement abroad after World War II, and in Russia—during the perestroika, the crisis of the 1980s–1990s, the creation of the Cinema Club Federation, attempts to revive the Friends of Soviet Cinema Society, and modern trends related to the film club work in the context of international cooperation, which was initiated by the VI World Festival of Youth and Students. The Soviet experience is studied in correlation not only with the strengthening in Western Europe of such phenomena as film clubs and film lovers’ associations, but also with the formation of specialized art cinemas and the experiment of the cinema club network, which is predicted to play a special role in the post-pandemic era. Among other things, the authors’ attention is focused on the delicate balance, that accompanied the entire history of the film club movement: the balance between initiative of the people, a spontaneous mass movement, and state efforts to organize and structure this process, between the desire for creative freedom and strict censorship of the elite. The authors consider the domestic and foreign cinema club experience as an opportunity to distribute works of the Russian cinema art among the most interested audience and to establish a system of limited cinema club distribution, which would bring originators and the public closer together.

MARKEDNESS OF THEME IN EVERYTHING, EVERYTHING MOVIE DIALOG

This study entitled Markedness Realization in Everything, Everything Movie Script. The research is meant to analyze how the Theme markedness realized in the clauses of the movie script. The theory that is used in this research is Systemic Functional Linguistics (SFL) proposed by Halliday (1994), regarded with textual function that observes clause as a message and analyzes it from the thematic structure in the term of Theme-Rheme. He states that Theme can be divided into two, unmarked Theme is an element that occupies the point of departure position of the clause, conflating with the grammatical subject and marked Theme is an element other than occupies the point of departure position of the clause, but does not conflates with the grammatical subject. The method that is applied in this research is descriptive qualitative method. The source of data were one of the most viewed romantic movies in 2017 script, Everything, Everything, taken from Springfield Springfield site. Data of the research were selected, based on the second character dialog of this movie script. The purpose of this research is to indicate the four types of markedness and to describe the realization of the Theme markedness in the movie script. The research findings showed that the dominant type of markedness realization is simple unmarked Theme with 69.4% percentage. This type of markedness dominated other kinds of markedness realization in addition to simple marked Theme with 2.4% percentage, multiple unmarked Theme with 27.1% percentage, and multiple marked Theme with 0.9% percentage.

Między minimalizmem a melodramatem. Przestrzeń filmowa w kinie rumuńskiej nowej fali

The starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments and (2) film images of individuals’ alienation in public spaces, both of them allusively referring to the times of the oppressive Nicolae Ceaușescu regime. The most important cinematographic devices used bythe authors of the Romanian New Wave cinema include: seemingly static shots, which, however, are filmed with a camera that is constantly gently moving and observing, and tableau shots. A common feature of all the considered works is the panopticism of the film world: the private and public spaces designed in them easily become a place of constant, panoptical observation. In the summary, theauthor remarks on and briefly discusses the coexistence of the aesthetics of minimalism / realism with the melodramatic elements in the cinematic structure of Romanian New Wave films.

Proposal of an Estimate of Box Office Revenues Using a Movie Scripts – Case of Romance Movies in Japan

Proposal of an Estimate of Box Office Revenues Using a Movie Scripts – Case of Romance Movies in Japan

The Study of the Artistic Implications of Seductive Costume Based on the Clothing of the Gisaeng(妓生) in Chosun Dynasty and Costume of Main Characters in Movies

본 연구는 조선시대 기생과 영화 속 주인공의 유혹의상에서 동서양이 같은 유혹의 원리에 따라 신체를 예술로 구현하는 미(美)를 발견하는데 목적이 있다. 기생은 신분사회를 뛰어넘어 권력층과 시와 가무를 즐기고 지속적인 사랑을 받기 위해 자신의 의상을 끊임없이 연출했다. 연구자는 오늘날 현대인들이 즐기는 로맨스영화에서 주인공의 유혹의 기술이 의상에 있음을 주목하여 동서양에 동일하게 적용되는 유혹의 원리와 의상의 의미를 분석했다. 연구방법으로 조선시대 신윤복의 회화에 등장하는 기생의 의상과 서양의 로맨스 영화에서 주인공이 연출하는 의상의 사례를 제시했다. 본고는 유혹의 기술이 동서양 구분 없이 공통적 요소인 의상으로 나타나고 유혹자의 공감각적인 연출로 존재하며 유혹자가 의상을 아름답게 연출함으로 신체의 예술을 창조하고 있음을 고찰했다. 이러한 논의는 유혹에 대한 이해와 의상을 예술로 바라보는 시각에 의미가 있다.This study aimed to discover beauty that embodies the body as art in the principle of seduction－in both the East and the West－through the seductive costumes of gisaeng (妓生) and the main characters in movies from the Chosun Dynasty. Gisaeng went beyond their social identity, constantly utilizing their costumes to enjoy poetry and dance with powerful people and be loved continuously. The researcher noted that the main character s seduction technique is reflected in their costumes in romantic movies enjoyed by modern people today, analyzing the principle and meaning of seduction that apply equally to the East and the West. As a method of research, he presented examples of gisaeng (妓生) costumes in paintings by Shin Yun-bok during the Chosun Dynasty and costumes worn by the main characters in Western romantic movies. The paper considered the art of seduction facilitated through a common element of clothing, regardless of the East and the West, and that it exists as a synesthetic production by the seductress－the seductress presents the body as art by beautifully directing the costumes. These discussions are meaningful in understanding temptation and exploring the artistic implications of costumes.

Who Marries Whom on Silver Screen? Religion and Social Class in Marriage Patterns in Contemporary Indonesian Films

Popular culture, where cinema is part, is an important site where ideas of acceptable and unacceptable marriage pairing is confirmed and/or contested. In any cinema tradition, including Indonesian, romance films offer a rich site to investigate broader societal ideals around who should or should not marry whom. In this article, we report our study on conjugal pairing patterns in Indonesian blockbuster films produced and released between 2008 and 2018. We investigate how protagonists in the films decide whom they marry; this question then led us to critically examine the extent to which religion and social class shape marriage decisions. The findings show that marriage pairing patterns on Indonesian silver screen during the period are largely assortative; the characters in the selected films tend to marry people adhering to the same religion and belonging to the same social class as themselves. The increasingly visible trend of religious endogamy and the sustained trend of class homogamy are inseparable from the heightened Islamization in the post authoritarian era, the improving economic outlook at the macro and micro levels in the post Asian financial crisis, as well as the promotion of gender equality during the period.

The Construction of Meaning and Position of Mental Disorder Character in Three Romance Films

This research discusses the representation and discourse which focused on the elements of characterization and narration which is presented by mental disorder character in Silver Linings Playbook (2012), Touched with Fire (2015), and The Other Half (2016). In this research, mental illness is not analyzed as a medical narration but also is one of signifying practices. The approaches of media representation analysis from Simon Cross (2014) and Harper (2008) are used to determine the representation of life experiences and disassemble the emerging discourses. The result indicates that when mental illness is represented in the romantic film, the stereotype about abnormality, rejection, and exclusion still becomes the main structure of the narrative. The romance story that wraps it up still refers to the stereotype. Therefore, those three films can be concluded as a part of dominant statements on abnormality discourse against mental disorder sufferers. In this case, mental disorder sufferers are subjected as a subject that must change. It is because only one choice for mental disorder sufferers to be accepted in society, that is recovery.Keywords: Mental Disorder Character, Discourse, Representation, Film

Armenian cinema in the late Soviet years: desexualisation as a narrative convention

ABSTRACT This article addresses Soviet-Armenian love narratives in cinema in the Soviet political and cultural context, revealing the negative impact of ideological restrictions on Armenian romance films between 1970 and 1990. On the one hand, the state censorship of film production and, on the other hand, the local conventions on social and sexual mores were detrimental to the development of Armenian romance films through a sanitisation of the subject-matter, particularly sexuality. The article examines Armenian love narratives through the philosophy of the being of love and with reference to the principles of realistic narratives and the romance genre. In a range of aspects, from cinematic articulation of heterosexual love, through a variety of theories of cinematic realism to features of visual narration, Armenian love narratives are shown to make use of a set of features aimed at the desexualisation of male and female love interests. Using a selection of films from the 1970s and 1980s with desexualised love narratives, the argument is made that characterisation and narrative are deficient inasmuch as they refrain from realistic representations of Armenian men and women in psycho-sexual terms.

Sex Sells! Could Sex Scenes in Ghanaian Video Films be used to Market Culture through Costume?

Film, although one of the youngest art forms, influences societies due to its unique way of interacting with the viewer. Film directors employ different tropes in conveying messages to audiences. One of such tropes is costume. “Sex sells” is a popular expression in advertising and marketing communications. The purpose of this study is to offer a new perspective on how sex scenes in films could be used to project aspects of a country’s culture. Riding on this popular expression, we argue that sex scenes in a Ghanaian video film could be a strong fulcrum to expose aspects of the rich Ghanaian culture to the world. We submit that by paying particular attention to the mise-en-scene of costume used during sex scenes, directors could lure film lovers into appreciating the kinds of fabric as well as style used by characters in a film. Through the case study method, we reviewed literature on mise-en-scene of costume in film, and its ability to convey underlying messages to the viewer. The literature review serves as the basis of our argument, where we propose how to ride on costume in sex scenes to project and market the richness of Ghanaian culture regarding clothing/costume in sex scenes in films. In this regard, we have been able to problematize a new way of thinking about sex scenes in films, especially regarding sex scene costume as a unique selling proposition and its contribution to marketing a country’s culture to the viewing public. This study contributes to policy in the entertainment industry in terms of portrayal of sex scenes in Ghanaian video films while ensuring cultural adaptability and growth.

Come‐hither looks: the Hollywood vamp and the function of cinema

Come‐hither looks: the Hollywood vamp and the function of cinema

The “Erotic” Tractor in the Soviet Cinema

Between the 1930s and the 1960s, much emphasis was put in the Soviet Union on the technological development of the country. One of the latest wonders of technology was the tractor, which harvested crops efficiently and rapidly. This article is concerned with the Soviet cinematic representation of work with tractors as the most erotic characteristic of a man. A man attractive to women in Soviet cinema is not handsome but rather is someone proficient in operating a tractor. On the other hand, a man who does not know how to operate a tractor is represented as impotent and is ridiculed by female characters. Several romantic films were produced in which the relationship between the protagonists developed against a background of the use of a tractor. These films became iconic and classic: everyone saw them many times and knew their scripts by heart. Most of the films depict a young Soviet man and his path to the heart of his girlfriend, and some show the maturation of the young character and his transformation into a real man. These goals are achieved through his work as a tractor driver. Examples of this are films like The Rich Bride (romantic comedy, 1937), Tractor Drivers (romantic drama, 1939), Cossacks of the Kuban (romantic comedy, 1949), It Happened in Penkovo (romantic drama, 1957), and Knight’s Move (comedy, 1962). In all these films, work with tractors is represented as an integral part of the “machismo” of the Soviet man.

The future of Stalinist art: Muñoz’s queer theory and the decontextualization of history

In this article, I reinterpret the Romanian film The Valley Resounds ( Răsună valea, Călinescu 1949) to challenge reductive explanations of Stalinist art as totalitarian and suggest a novel use of socialist artworks in the era of digital capitalism. In advancing a practice of decontextualization, I claim that Marxist films need to be reinscribed in new art contexts so that they could generate utopian desires about sexuality and radical politics. Given that socialist realist productions function not unlike José Esteban Muñoz’s queer practices of dis-identification, I argue that Stalinist films offer an archive that calls for the abolition of capitalist sex roles.

Language Style in Romantic Movies

This study aims to find out the types of language style in romantic movies and what is the dominant type of language style that found in romantic movies. The data were taken from romantic movie entitled The Last Song (2010) and Midnight Sun (2018). The data were collected by using documentation method by applying qualitative audio-visual materials technique.In analysingthe data, this study used both qualitative method and quantitative method and for the presenting data and analysis, formal and informal method were used. The data were analyzed using theory of language style by Joos (1976) and theory of context situation byHymes (1974). The result shows that all types of language style are found in Romantic movie. In The Last Song (2010) movie could be found frozen style, formal style, consultative style, intimate style and casual style. Meanwhile in Midnight Sun (2018) movie there are only formal style, consultative style, intimate style and casual style. The dominant type found in romantic movies is intimate style, while the least is frozen style. 

Gender Difference in Risky Sexual Behaviour and Associated Factors among Undergraduate Students in Dambi Dollo University, Ethiopia:

Background: Youths, whether or not they are sexually active, have increased exposure to sexually transmitted infections including Human Immunodeficiency Virus. Methods: I used Institution based comparative cross-sectional study design. The data was collected using pretested structured self administered questionnaire. Five hundred seventy nine students received, properly filled and returned the questionnaire. Results: Life time risky sexual behaviour was higher in male compared to female, 181(54.8.0%) and 54(21.7%) respectively. Respondents with age less than 20 years old were less likely to have life time risky sexual behaviour. Male students were 3.5 times more likely to practice life time risky sexual behaviour compared to female. The likelihood of students ever visited night clubs to practice life time risky sexual behaviour compared to non visitors was high. The odds of the students who ever drunk and ever chewed Kchat to commit life time risky sexual behaviour were more than those who never did for chewing and for alcohol. Ever watching romantic films increased the odds of lifetime risky sexual behaviour by compared to those who did not. Students ever attended sexual and reproductive health education tends to have more odds of lifetime risky sexual behaviour. Conclusion: Life time risky sexual behaviour was common in this study. Significant gender difference was observed with higher risk in male respondents compared to female. Specific Strategies that address and promote safe sexual and reproductive health should be identified and implemented. The finding from this study provided insight to gender differences in risky sexual behaviours and associated factors that lead to the development of gender based strategies to combat the development of HIV/IDS, STIs and other reproductive health related problems among adolescents and youths.