Film Scenes Research Articles

Analysing the Meaning of Audience for Cross-gender Artists in the Documentary Lelaki Ayu Primadona Java: Lengger Lanang

Lengger Lanang is a traditional Javanese dance performed by a group of men that dress like women. This tradition might clash with a conservative Indonesian culture that considers cross-dressing men as deviant. This research aims to analyze how a group of people perceive a documentary film titled Lelaki Ayu Primadona Jawa: Lengger Lanang about a group of Lengger Lanang dancers. Using Stuart Hall’s encoding-decoding theory, this research involved seven informants who were divided into three groups of reader positions: dominant, negotiation and opposition. This research used a descriptive qualitative research design which focuses on the audience's reading position by analyzing the audience's understanding of cross-gender artists through documentary film scenes. Data was obtained from in-depth interviews with the informants. The research results showed that four informants who were in dominant positions and three informants who were in negotiating positions, and there were no audience members who were in opposition positions. The audience's reading position is influenced by the background of the audience watching the documentary. The audience interprets this documentary as an understanding of artists across gender but also discusses the preservation of the culture, history and values ​​of the Lengger Lanang dancers.

The Analysis of Surreal Space’s Expression in Science Fiction Films: A Case Study of Interstellar

This research analyzes surreal space expression in science fiction films, using Interstellar as a case study. The study aims to identify the expression forms and visual effects of surreal space in science fiction films and to summarize the underlying scientific principles, aesthetic principles, and audience psychological interaction. The findings of this research will contribute to the improvement and industrial development of science fiction film scene design. By proposing instructions that combine scientific theories and physical space design, the study aims to address the issues of immature theories of surreal spatial constructions in science fiction films. The guidance provided will help enhance the quality of science fiction film productions.

Penggambaran Peran Gender dalam Keluarga di Film Noktah Merah Perkawinan

This study aims to examine the depiction of gender roles in the 2022 film version of Noktah Merah Perkawinan, which is a remake of the 1996 television series. The focus of the film is the dynamics of the marriage of a couple who have been married for 11 years. This research employs a qualitative approach with text analysis methods. The analysis technique used is Roland Barthes' semiotic analysis technique which consists of three stages, namely denotation, connotation, and myth. Meanwhile, the theory used in this research is symbolic interactionalism theory which emphasizes the concepts of roles and values. The data used include documentation of film scenes that meet the predetermined analysis criteria as well as related published journals. The results show that the depiction of gender roles in this film is still not ideal. Although both men and women are portrayed in domestic and public roles, domestic roles are predominantly held by women. This is due to the persistent traditional stereotypes, where women are seen as responsible for the domestic sector, while men are encouraged to take responsibility in the public sector. In conclusion, this film still maintains traditional stereotypes in the depiction of gender role distribution.

Making a scene in documentary film: Iconic filmmakers discuss what works and why By MaxineTrump, New York: Routledge. 2023. pp. 222. £100.00 (hbk)

Making a scene in documentary film: Iconic filmmakers discuss what works and why By MaxineTrump, New York: Routledge. 2023. pp. 222. £100.00 (hbk)

Dramatic Function of Soundtrack Film Message Model

The soundtrack was characterized by a dramatic function that played an essential role in building the cinematic and dramatic landscape and centered on how to support and support the event and film scene with multiple and varied functions in the (message film) film and emphasize the foundations on which the soundtrack served as a fundamental dramatic function in the artistic content and film event. Chapter I included the methodological framework in which the research problem of research arose after the researcher conducted a field survey of some films in which the soundtrack had a dramatic function that played a key role in the construction of the film scene. In this sense, the researcher seeks to raise the question of what is the dramatic function of the soundtrack in the film message? Hence the importance of research from which we mention1:- Highlight the elements of the soundtrack and its relationship to the film's scene event Then the goal of the research centered on the dramatic function of the soundtrack in the film and the research is determined by the music of the film. E-The first chapter of the chapter came with researchers who specialized the first elements and components of the soundtrack I only the second was entitled the dramatic effect of the soundtrack musician Then the theoretical framework was marked and then chapter III was followed by research procedures and analysis of the soundtrack models of the music of the message film.

Nilai Pendidikan Karakter dalam Film Wish Dragon Produksi Sony Pictures

The purpose of this research is to determine the value of character education in the film wish dragon. The method used by the author is a qualitative descriptive method. And the analysis technique used is to collect data about the film scenes to find out the moral values contained in the film. The research results obtained from the analysis of moral value education in the wish dragon film show that this film reflects many moral values, and to help children socialize well means it can be used to teach moral values.

Dubbing in Favour of Distinction

Dubbing has been employed to fabricate characters’ bodies onscreen since the inception of spoken and sung cinema. In Hollywood musicals, this technical device has given rise to various social problems, including uncredited singers, labour exploitation, and identity-related issues. In this context, this article explores how dubbing has been consistently used as a tool for constructing characters’ bodies onscreen, producing social differences in hierarchical ways. The discussion focuses on film scenes dubbed by the ghost singer Marni Nixon since, in the films on which she most famously worked, characters’ voices are important aspects of their racial, class, national, and gendered distinctions. Throughout the analysis, the essay also engages with other work on dubbed cases, such as Masha Siefert’s (1995), Merrie Snell’s (2020), and Jeff Smith’s (2003), to facilitate a broader discussion on the politics of dubbing in film musicals. In doing so, the paper frames various normative notions about body, voice, and identity highlighted by dubbing. Ultimately, it posits that dubbing constructs characters’ bodies onscreen by often aligning with normative ideals while also opening risks of exposing cinematic artifices in queer ways.

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.

Class Narrative in Lee Chang-dong’s Films: A Case Study of the Film Burning

As one of the most significant auteur directors in the South Korean film industry, Lee Chang-dong has always focused on social realities, marginalized characters, and underprivileged groups, earning a reputation for his strong critical consciousness in the global film scene. At the 71st Cannes Film Festival, his latest work Burning garnered a score of 3.8 out of 4, setting a record for the highest rating in the history of Cannes press screenings. The film primarily explores the existential circumstances and survival conditions of individuals, depicting how individuals seek freedom in an absurd world. It maintains Lee Chang-dong’s consistent stance on the margins, continuing his attention to the plight and survival conditions of individuals from the lower strata of society and his strong critique of social realities. This paper will conduct a narrative analysis of Burning from the perspective of class narrative.

REPRESENTASI PRIMORDIALISME DALAM FILM DOKUMENTER “SEDEKAH KA BUMI” KARYA WATCHDOC

Indonesia is a country with a multicultural society, which has led to the emergence of various customs or belief systems, traditions, and different social structures. The documentary film "Sedekah Ka Bumi" produced by Rendi Dwi Julianto and published by Watchdoc provides information related to one of the Sundanese customs. The purpose of this research is to analyze the representation of primordialism contained in several scenes in the documentary film "Sedekah Ka Bumi" by Watchdoc and also focuses on the customs of the Urug Traditional Village community, Bogor Regency. The representation of primordialism in this film is analyzed through Ferdinand De Saussure's semiotic theory which focuses on Signs, Markers and Signifiers. This research uses qualitative research methods. The results of this study show that the movie "Sedekah Ka Bumi" succeeded in portraying well the elements of primordialism in the culture and religion of the people of Kampung Urug. The film depicts how they maintain their traditions, religious identity, and the way they respect nature. The main message is that the traditional values applied remain relevant and respected in the modern world.

Musical Manipulation of Visual Scenes In Video, Film, and TV Advertisements

Musical Manipulation of Visual Scenes In Video, Film, and TV Advertisements

Effects of Underscoring on Semantic Appraisal and Interpretation of Ambivalent Film Scenes

Abstract The relationship between film and music provides a domain for the investigation of the effects of background music on emotional and cognitive processing of film scenes. This article presents the results of an experiment on the role of music in the semantic appraisal and interpretation of ambiguous film clips. Psychomusicological studies on film music show that subjects are able to match a scene to its intended underscoring, and that there seems to be a “congruency” variable in play between a piece of music and a film scene. Some research also suggests that two independent factors, namely mood and arousal, underlie the appraisal of complex stimuli like musical tracks and film scenes. However, few studies specifically address the role of music in modulating the “cognitive” interpretation of a scene, so we set out to investigate the effect of underscoring music on ambiguous film clips in which the portrayed events could be explained in different ways. First, mood and arousal scores were obtained via semantic differential ratings for twenty-two music tracks (n=107) and twelve scenes (n=92), and those stimuli receiving the most consistent ratings among subjects were used to create different parings. Then, all combinations were rated for congruency (i.e., how well the music and the scene fit together). Changing underscoring music had a significant effect on the overall ratings for mood and arousal in most film/music pairings (n=92). The perceived congruency between visuals and music seems related to the distance of each stimulus on the mood dimension. When subjects were asked what they thought was happening in the scene, the soundtrack previously rated as congruent led the majority of participants to one same interpretation of the film scene. However, when underscoring music was in a contrasting relation with the film scene, responses were more spread out.

Film Tourism, Creative Process and Territorial Entrepreneurship

Recognition of the potential of film tourism was manifested by deepening knowledge of this market, given the cultural and tourist dynamics developed, but also through the creation of new tourism products specific to this sector. Film tourism, that is, the tourist activity associated with cinema and television, has been of increasing interest for the promotion of territories. In contemporary times, the interconnections between tourism, space, and media have generated interest, recognizing the occurrence of a distinct type of behaviour, activity, and tourist experience associated with this tourist segment that, through creativity, is manifested in academic entrepreneurship. The parameters of film tourism are multidimensional, generating territorial impacts, but also opportunities and challenges associated with the management and marketing of tourist destinations. Film tourism must be looked at, not only from a demand perspective but also from a supply perspective. This is because cinematographic tourism developed from opportunities generated by cinema understood in this study as an agent that induces travel to cultural and tourist destinations. In this study, carried out geographically in the centre of Portugal, the aim is to present a case study related to cinematographic tourism through the mapping of filming and scenarios where film scenes were recorded in heritage resources, in their relationship with the enhancement of cultural and tourist experience. The main objectives of this study include an approach to film tourism as a factor of entrepreneurship in the territory and verifying the importance of film scenarios in heritage resources as factors of attractiveness and cultural and tourist enjoyment. To achieve both objectives, a quantitative analysis was carried out on residents of a territory where film scenes were recorded. The conclusions identify that the recording of filmic scenes encourages interest in heritage and cultural spaces, with a greater dynamization of these spaces for tourist appropriation and, in turn, the incentive to the creative process and territorial entrepreneurship.

Analysis of Lighting Arrangement in the Film "Buried" (2010) by Director Rodrigo Cortez

This study examines the use of innovative lighting in Rodrigo Cortez's film "Buried," focusing on its impact on narrative storytelling within a single-location setting. The limited lighting arrangement is key to the film's uniqueness, effectively portraying narrative tension and the protagonist's psychological journey in a creative and technical manner. Using a qualitative approach, the research analyzes each shot to identify key lighting transitions and thematic motifs. It dissects the film's visual strategies, particularly how Cortez manipulates light to convey the protagonist's psychological state and the passage of time in a confined space. The study aims to understand the effects of lighting arrangement on the film's visual mood and its implications for contemporary cinematography, as well as the psychological effects of lighting in film on viewers' perception and emotions. It also seeks to enhance the experience of claustrophobia using lighting as a narrative device to complement the tense atmosphere in the film's scenes. The results contribute to a broader discourse on cinematography's role in shaping film narrative structures, especially in creating deep visual narratives without relying on extensive settings or special effects. This analysis provides insights into the effectiveness of minimalist lighting in low-budget film making with high constraints.

Don’t Be Too Good at Reading Other People's Minds

Attribution of mental states is fundamental to our engagement with fiction. Crucially, its social content depends on mental states recursively “embedded” within each other; for instance, when a person doesn’t want other people to know about her intentions. Given that some characters seem to be consistently capable of embedding mental states on a higher level than others, this essay reviews factors that may influence authors’ constructions of such mindreading hierarchies as well as their reversals. The argument focuses on the reversal scenes in films Goodbye Lenin, The Lives of Others, and Never Look Away, and on prosocial emotions evoked by their depiction of a more equitable distribution of a presumably valuable and scarce resource, that is, access to other people's minds.

The color value in the variables of scenes in the dramatic film

The color value in the artwork is an important thing when the artist wants to make his works of value worthy of appreciation, and there are artistic additions that increase the advantages of the artwork in form and subject matter with reference to the material, moral and expressive value of color, it is known during the filming of the film scenes that lighting has a prominent role in displaying dramatic treatments to be believable, as a change in intellectual orientations for artistic distances due to the impact on reality and imaginary, and from the standpoint of these advantages the title of the research was formed the color value in the variables of the scenes In the dramatic film, by asking the question is there a difference in value for the color variables in the scenes in the dramatic film? From which the film (The hateful eight) was chosen to be the research sample for its prominent color connotations as a feature of the film, and therefore the research aims to shed light on the color value in the dramatic scene of the director's intellectual and aesthetic perceptions in choosing different color tones and the way they put the material and form it in an expressive language, the research followed the descriptive approach to analysis, which is consistent with the type of study by analyzing selected scenes after determining the indicators to be a tool for analysis. So he went out.

Smoking in Netflix feature films and youth protection

With the aim of protecting minors, the World Health Organization has recommended classifying films with smoking scenes as unsuitable for children and adolescents. In recent years, films have increasingly been viewed via video streaming services - a trend which has been intensified by the COVID-19 pandemic - which poses new challenges for the protection of minors. To examine the frequency of smoking scenes in Netflix feature films and the age recommendations for Netflix productions with smoking scenes. A total of 235 films that were made available for streaming exclusively by the Netflix platform in 2021 and 2022 were content coded in order to find out (1) how high the proportion of smoke-free films was in this film sample, (2) how often smoking scenes occurred in these films and (3) the proportion of films with smoke scenes classified as appropriate for young people in Germany and the USA. All films with an age rating of under 16 were considered suitable for children and young people. Smoking scenes occurred in 113 of 235 analyzed films (48.1%). Of the 113 films with smoking scenes, 57 (50.4%) in Germany and 26 films (23.0%) in the USA were classified as youth films (p<0.001). A total of 3,310 smoking scenes were registered. Of these, 39.4% (n=1,303) were in films with youth ratings in Germany, and in Netflix USA this proportion was 15.8% (n=524). Smoking scenes are a common feature in Netflix movies. Neither in the US nor in Germany does Netflix adhere to the recommendations of the WHO Framework Convention on Tobacco Control to restrict access by young people to films depicting smoking. However, the protection of minors in the US is better than in Germany, since half of the Netflix films with smoking scenes in Germany were rated as suitable for minors, in the USA less than a quarter.

The role of excitement and enjoyment through subjective evaluation of horror film scenes

The popularity of the horror genre is constantly increasing and still has not reached its peak. As a recreational activity, people watch horror movies in pursuit of excitement and enjoyment. However, we still do not know what traits make people seek out this type of increase in arousal (excitement) and why they find it desirable (enjoyment). Consequently, in this study, we sought to identify observer-related factors that allows consumption of horror content as a recreational activity. Participants (N = 558) answered questions about movie-watching habits, completed measures of cognitive emotion regulation, sensation seeking, paranormal beliefs, morbid curiosity, disgust sensitivity, and rated short scenes from horror movies on dimensions of excitement, enjoyment, disgust, fearfulness, and realness. Our findings suggest that the predictors of excitement and enjoyment are slightly different. Perceived disgust negatively affected enjoyment but did not influence to excitement. Further, both excitement and enjoyment were positively predicted by fearfulness and realness ratings of the scenes, and morbid curiosity. Paranormal beliefs, sensation seeking, disgust sensitivity, anxiety, and emotion regulation strategies were not associated with excitement and enjoyment. Future studies should make a distinction between excitement and enjoyment as they are equally important factors with slightly different backgrounds in recreational fear.

Simulate This! Virtual Production and Cinematic Education with cineDESK

Due to the increased availability of computing power, hybrid image production – combining live-action image components with virtual assets – can now be performed in real-time, enabling filmmakers to seamlessly visualize, manipulate and incorporate digital assets into their shooting process. The related novel workflows are commonly referred to as “Virtual Production”. Here, we focus on the use of Virtual Production techniques for cinematic simulation. In 2020, the Zurich University of the Arts created cineDESK, a simulation tool to facilitate the previsualization of film scenes and stimulate the artistic choices of filmmakers. Using cineDESK, directors, cinematographers and production designers can collaboratively explore how space, light, props and acting are translated into cinematic sequences. In educational settings, students benefit from cineDESK’s capacity to explore specific aspects of the filmmaking process in isolation. cineDESK allows them to repeatedly rework their scenes, rearranging and optimizing camera angles and movements, lighting, production design elements and even the appearance of their (virtual) actors. Thus, cineDESK helps filmmakers to develop an idiosyncratic visual language and make informed aesthetic choices without being overwhelmed by the complexities of a real film shoot.

Preschoolers’ ability to build inferences about a film protagonist’s emotional state

In this study, we investigated whether preschool children can draw inferences about the emotional state of a film protagonist. A sample of 59 children aged 4 and 5 watched 20 scenes from a television show. Their ability to understand the protagonist’s emotional states was assessed using a reaction time task. Media sign literacy, theory of mind abilities, and the general understanding of the scenes were also evaluated. Our results show that even children aged 4 drew emotional inferences but only on a valence-based level (i.e., distinguishing between emotions of different valences). No exact inferences (i.e., distinguishing between emotions of the same valence) were drawn. There were no significant influences of media sign literacy or theory of mind on the inference generation, but general understanding of the film scenes was important.