War Films Research Articles

ФОРТЕПИАННЫЙ КОНЦЕРТ ЧУ ВАНХУА «МОЯ РОДИНА»: СПЕЦИФИКА ПРЕЛОМЛЕНИЯ ИММАНЕНТНЫХ СВОЙСТВ ЖАНРА

The article analyses the piano concerto “My Homeland” by the Chinese composer Chu Wanghua, written under the impression of the war film “The Battle on Shangganling Mountain” (1956). The work is based on the song “My Homeland”, which is very popular among the Chinese people. In the Concerto, the composer turns to a generalized programme, which, as revealed in analysing the composition, is directly related to the plot of the film. Based on the immanent properties of the concerto genre, Chu Wanghua presents the listener with its nonstandard interpretation. As the initial form, Chu Wanghua chooses free variations, a structure typical to the Chinese national tradition, interpreting them in accordance with the musical content of the work. The Concerto reveals the features of the sonata cycle and the sonata allegro in the role of the supporting form. At the same time, the work bears the signs of a suite, a genre widely spread in Chinese musical culture. Masterfully owning the compositional technique, Chu Wanghua implements in the Concerto such immanent features of the genre as game logic, virtuosity, competitiveness, concertising, improvisation, which are presented in the work with varying degrees of intensity. According to the concept, “My Homeland” can be attributed to a synthetic type, where virtuosity and the desire for symphonisation are equally represented. In terms of composition, the Concerto is an atypical form, but rather approaches the concertina in scale (the composition sounds about fifteen minutes). According to the principle of the performing parts ratio, the Concerto belongs to the parity type.

Reliability Analysis of Multiple Machine Learning Methods in Influencing Factors Analysis and Prediction of War Film Box Office——Coordination and Optimization between Narrative Rhythm and Box Office Performance of War Film

Reliability Analysis of Multiple Machine Learning Methods in Influencing Factors Analysis and Prediction of War Film Box Office——Coordination and Optimization between Narrative Rhythm and Box Office Performance of War Film

Military Entertainment After 9/11: A Case Study on Call of Duty Modern Warfare Franchise

The Call of Duty franchises are renowned for being the best-selling first-person shooter games globally and boast the highest number of concurrent players worldwide. The franchise has significantly impacted the creation of war narratives, particularly about heroism and values exported from the United States. Notably, Call of Duty: Modern Warfare (CoD: MW) was the first series to exhibit the characteristics and iconography of a modern war film. This study examines the narrative themes and structural components of the Call of Duty: Modern Warfare series since 9/11. The interaction of the 'dangerous frontier' has not been directly discussed in Call of Duty narratives, as a result of the combination of Bush's defense policy, economic globalization, and neoliberalism in the post-9/11 era. The study revealed that the game design and narrative of Call of Duty Modern Warfare relies on a dichotomy of "dangerous borders," where audiovisual technology, storytelling, and cultural symbols are employed to starkly distinguish between advanced attributes within the borders and barbaric mapping outside of them. The game also disseminates values of just war which are based on the American Exceptionalism Theory. Meanwhile, recent research has revealed a stronger correlation between narrative changes within the Call of Duty: Modern Warfare franchise over the past five years and recruitment advertising with war entertainment, and that this dynamic has reduced the impact of narrative styles within the media in the post-9/11 era.

Burdens of History, Ethics of Engagement: German Film and the Afghan War

Based on the analysis of two contemporary German films on the war in Afghanistan – Auslandseinsatz (Till Endemann, 2012) and Zwischen Welten (Feo Aladag, 2014) – through the philosophical lens of the ‘just war theory’, this article discusses how the classic genre of the ‘boots on the ground’ war film is used to reflect on the ethical justifiability of military force in the context of Germany’s strategic culture at the beginning of the twenty-first century. The article argues that these two films are paradigmatic examples of a new and specifically German subgenre of the war film I suggest calling the ‘humanitarian military film’ that has its roots in the particular historical constellation that led to the development of the country’s current military culture.

Guilt and Grievability at War: Military Accountability and the Other in Mark of Cain and Battle for Haditha

This article conducts a critical reading of the British war films Mark of Cain (Munden, M., 2007. Mark of Cain) and Battle for Haditha (Broomfield, N., 2007. Battle for Haditha.). Establishing the significance of cultural representations for politics and collective memory, I first locate both films in their historical and cultural contexts before I offer analyses that focus on the representation of US and British soldiers, Iraqi insurgents, and Iraqi civilians. I argue that Mark of Cain dissects how misunderstood loyalty, peer-pressure, and military organization facilitated abuses by British soldiers against Iraqi prisoners, but at the same time narrowly frames the Iraqi other as either largely invisible threat or hyper-visible helpless victim. In contrast, Battle for Haditha draws a more sophisticated picture of the Iraq war as a complex political economy with shifting allegiances and blurring loyalties that problematizes self-other distinctions. This, I conclude, makes Battle for Haditha an anti-war film proper.

Visual Representation of War Themes in American Cinema - A Case Study of the Evolution of War Films

Throughout American cinematic history, war-themed films have captivated audiences with their distinctive visual representation. Since the release of the first war film in 1951, war movies gradually evolved to become an essential genre within American cinema. These films not only entertain but also convey the cruelty of war, the fragility of human nature, and the preciousness of peace through visual storytelling. This paper delves into three distinct periods: the early development, mid-development, and contemporary development stages, analyzing the evolution and visual representation of American war films, along with their impact on audiences and society. Furthermore, they reflect the prevailing values and political stances of their time and, with the evolving society, gradually target female audiences, influencing film creation and thematic choices. This study aims to offer insights into the visual representation of American war-themed films and their effects on audiences and society, providing valuable references to understand the significance and role of war films in American cinematic history.

Cyborgs vs. Vatniks: Hybridity, Weaponized Information, and Mediatized Reality in Recent Ukrainian War Films

Abstract Focusing on Akhtem Seitablaiev’s blockbuster Kiborhy: Heroi ne vmyraiut (Cyborgs: Heroes Never Die, 2017) and Sergei Loznitsa’s auteur production Donbass (2018), this article argues that the 2014–2022 cycle of Ukrainian war films merits critical attention as an astute record of conspicuous social transformations in pre-full-scale-invasion Ukraine and for their original perspective on the hybrid nature of modern war and its mediatization. The article uses postcolonial and cyborg theories of hybridity, Baudrillard’s concept of simulacra, and the Marxist notion of “false consciousness” to illustrate how post-Soviet, postcolonial, and post-truth aspects of war-torn Ukraine conflate in Seitablaiev’s and Loznitsa’s works to highlight the recent shift in the nature of warfare itself. As the two films unequivocally demonstrate, the latter is defined not so much by high-tech armed operations and direct annihilation of the opponent as by contactless warfare, as well as by its consequences for those directly influenced by it.

Young people's attitudes towards films about the Great Patriotic War: viewing expectations and genre preferences

The article presents the results of two author's researches of young people's attitude towards films about the Great Patriotic War: "History in cinema: the problems of remediation" (10 focus groups) and "The Memory of the War in the Soviet and Post-Soviet Cinematography: the Young Audience View" (questionnaire survey, n = 2003).The authors identified the main narratives of interest to young audiences. It was noted that the films popular among young people are multi-genre works which combine historical accuracy and autobiographical, melodramatic and action-film elements.The viewing motivation associated with watching films about the Great Patriotic War, analyzed in terms of the theory of usage and satisfaction, is a complex system of expectations. The authors distinguish 6 groups of normative expectations: identity and integration; establishment of pleasant environment and recognition; tension and sensation seeking; authenticity and cognitive satisfaction; escapism and imagination; surprise and spectacularity.Historical war films fulfil social functions (meeting young people's expectations of integration, establishing a pleasant environment and credibility), while being an entertaining media product appropriate to the youth mediahabitus (meeting expectations of spectacle, suspense and escapism). The authors state that historical films devoted to the events of the Great Patriotic War manage to successfully maintain a balance between format (proximity in terms of style and language to the youth audience) and content (ideological, patriotic message).

Linguistic Means of Constructing ‘Enemy Number One’ in the US Cold War Cinema

The study examines how the US Cold War cinema employed linguistic means to construct images of the USSR and American communists. The research relevance is determined by: the need to study the techniques of creating the enemy image as one of the crucial issues in international relations; and the importance of the topic amidst the aggravation of Russia- US relations. The study aims at analysing the usage of linguistic means in such practices of constructing/deconstructing the images of ‘enemy number one’ as dehumanisation of the enemy, its normalisation, domestication, and rehumanisation. The research novelty lies in the fact that, for the first time, the language as a resource for constructing enemy images in the Cold War films is analysed. The material for the study makes American films of the 1940s-1960s, in which contaminated speech for depicting Soviet characters is extensively used. Particular attention is paid to the means of creating speech portraits of Soviet characters. The research methods used are descriptive, linguistic, and sociolinguistic methods, and discourse analysis. The authors conclude that linguistic means (primarily linguistic competences and accent) were instrumental for creating enemy images in the cinematic Cold War. Linguistic otherness served as a means of emphasising second-rate culture, which in turn was intended to mark political foreignness. Linguistic means helped fulfil functions of the enemy image: showing its otherness; depriving it of the linguistic abilities as an essential attribute of humanity, helping dehumanise it; emphasizing its civilisational inferiority; and making the enemy comical. Finally, attention is drawn to the fact that the cinematic image of ‘enemy number one’ contributed to the hierarchisation of languages; everything Russian was associated with communism and therefore perceived as inferior and hostile.

Winning the Korean War: Early DPRK and PRC Films

This paper adopts a comparative approach by focusing on a selection of early DPRK and People’s Republic of China war films made during the years that followed the Korean War. It looks into the narrative, and the aesthetics of the films in the general framework of socialist construction but also in terms of the DPRK’s shattered dream of reunification. The Korean War broke out during the beginnings of socialist construction, a time of awakening and departure into a new world. It marked the beginning of the Cold War that drew battle lines that would remain in place over the next four decades. The war also served as the theme of a number of films in both countries that reflected their war experience. For the DPRK and PRC, film provided an occasion to address the socialist construction and supremacy over the United States. While the earliest Chinese movies, The Battle of Shangganling Ridge (上甘岭 1956) and Flying in the Sky (长空比翼, 1958), focused on the heroic battles of the Chinese troops, later films such as Friendship (友谊, 1959), Raid (奇袭, 1960) and At the 38th Parallel (三八线上, 1960) recounted incidents of Chinese and Korean soldiers fighting in cooperation against the US enemy under the background of a “Resist the US and Help Korea” campaign. The eight DPRK films discussed include Again to the Front (또 다시 전선으로, 1951), Scouts (정찰병, 1953), and The Combat Unit of a Fighter Plane (비행기 사냥군조, 1953). These productions had to confront the fact that Kim Il Sung’s attempt for (forced) unification had ended in a complete failure that permeated divisions and cut family ties. The Korean War broke out during the early stages of socialist construction in the Democratic People’s Republic of Korea (DPRK) and in the People’s Republic of China (PRC), a time of awakening and departure into a new ideological world.1 It marked the beginning of the Cold War, drawing battle lines that would remain in place for the next four decades. When Chinese Volunteer troops entered the Korean War on the DPRK side, they were motivated, rather than by friendship, by a mutual enemy, the US, which the PRC feared might further invade Manchuria.2 The war became the theme of a number of films in the DPRK, and the PRC, reflecting their war experience. For the DPRK and the PRC, film was a means to address the process of socialist construction and its supremacy as a model over that of the United States. The DPRK’s films had to deal with the fact that Kim Il Sung’s attempt at (forced) unification had ended in complete failure, which permeated divisions on the Korean peninsula and cut family ties. In addition, the films were produced at a time when Kim Il Sung and the Korean Workers’ Party (KWP) sought to build North Korean society anew, in order to present the socialist system as superior to what had been before. A few years before, Mao Zedong had started to introduce socialist values among his followers during the first rectification campaign in Yan’an in 1942. However, the socialist construction period only started after the establishment of the PRC in 1949. This paper focuses on the war films made in the DPRK and the PRC during the Korean War and the years that followed it, when the Chollima movement in the DPRK (launched in 1955, in full swing by 1957), the Anti-Rightist Campaign (1957) and the Great Leap Forward (1958–1962) in the PRC, served as ideological turning points until the beginning of the 1960s.

Illuminationist cinema: How Islamic mysticism inspired Morteza Avini’s Sacred Defence documentaries of the Iran–Iraq War and his attempt at constructing a film theory

"‘Sacred Defence cinema’ is the official title given to Iranian pro-establishment war films concerning mainly the Iran-Iraq War [1980-1988]. The most prominent figure of this filmmaking movement who both made films and wrote about them was the documentary filmmaker, Morteza Avini [1947-1993]. In his search for a new Islamic inspired cinematic language, Avini argued that Islamic mysticism could inspire a mode of filmmaking which he called ‘illuminationist cinema’. He used this term mainly in order to reflect on the filmmaking techniques he developed and used during the making of his own documentaries, but also proposed it as a filmmaking method to be adopted by other Islamic filmmakers. Avini’s early death in 1993 put a stop to his theorisation of ‘illuminationist cinema’; however, his films and his writings continue to inspire new generations of Iranian propaganda filmmakers. In this paper, by analysing Avini’s films and writings, I lay out a definition of his ‘illuminationist cinema’ and explain what aspects of Islamic mysticism inspired which filmmaking techniques developed and theorised by him. "

Orientalism in US digital entertainment media and anti-Americanism in the Arab world: an integrative review

ABSTRACT The digitalization of cultural spheres has profoundly impacted intergroup relations and power dynamics. Our understanding of digital anti-Americanism and Orientalism is embryonic. This integrative review provides a comprehensive appraisal of this research focus. Using databases, websites, and publication citations we integrated 36 studies (2001–2021) on anti-Americanism in the Arab Muslim world and neo-Orientalism in US war films and videogames. The findings indicated that digital culture underpins intergroup ambivalence. US digital epistemic power impedes intergroup rapprochement because digital entertainment media disseminate fear and instigate bias. However, research overlooked the correlation between digital Orientalism and anti-Americanism. We recommend further exploration of the influence of war culture on the waxing and waning of intragroup schisms and intergroup conflicts to promote global peace.

Book review: Elora Halim Chowdhury, Ethical Encounters: Transnational Feminism, Human Rights, and War Cinema in Bangladesh

Elora Halim Chowdhury, Ethical Encounters: Transnational Feminism, Human Rights, and War Cinema in Bangladesh (Philadelphia: Temple University Press, 2022), 225 pp., $32.95 (Paperback). ISBN: 978-1-4399-2225-5

EXAMINING THE IMPACT OF THE PROPAGANDA ORGANIZATION CALLED OWI ON HOLLYWOOD INDUSTRY THROUGH WORLD WAR 2 WAR MOVIES

Bu çalışmada, İkinci Dünya Savaşı sırasında Amerika’da dönemin iktidarı tarafından kurulan bir propaganda kurumu olan OWI’nin (Office of War Information/Savaş Bilgi Ofisi) Hollywood filmleri üzerindeki etkileri ve İkinci Dünya Savaşı yıllarında Amerika’da popüler sinemanın bir propaganda aracı olarak kullanımı savaş filmleri üzerinden ideolojik eleştiri yöntemi ile incelenmiştir. Dönemin ve savaşın tarihsel, politik ve kültürel bağlamını daha iyi anlayabilmek için, OWI’nin işlerlikte olduğu 1942 ve 1945 yılları arasında, Hollywood’un beş majör stüdyosu olan MGM, Paramount, RKO, Twentieth Century Fox ve Warner Bros tarafından üretilen 50 savaş filmi örneklem olarak ele alınmıştır. Savaşın başlarında Hollywood endüstrisi gişe gelirlerine zarar verdiği için propaganda nitelikli filmlerin üretimine soğuk bakarken, stüdyolar ve iktidar arasında yapılacak olan ortak çıkarlara dayalı bir anlaşmanın kârlı olacağının anlaşılması üzerine propaganda nitelikli film üretimi yoğunlaşmıştır. Savaş döneminde iktidarların ihtiyaç duyduğu mesajların filmlerde yer almasını isteyen OWI’nin bu amaç doğrultusunda stüdyolara gönderdiği kılavuzda yer alan; savaşın amacı, düşmanlar, müttefikler, savaş dönemi üretim/çalışma ilişkileri, sivil cephe ve savaşan kuvvetler olmak üzere altı başlık altında sunulan önerilerin incelenen tüm savaş filmlerinde yer aldığı görülmüştür.

White Women Filming Kurdish Women: The Instrumentalisation of the Kurdish Armed Struggle

ABSTRACT This paper looks at the gendered representations of female soldiers in war films and reflects on how the role of women in war is imagined. In particular, it questions the media and popular cultural attention that the female Kurdish fighters received, and thereby contributes to the research on women engaged in political violence and their popular representation. A visual, narrative and contextual analysis of two French films (Girls of the Sun (2018), Sisters in Arms (2019)) exposes how female Kurdish combatants are depicted and for what purpose. I argue that the films contribute to the instrumentalisation of the Kurdish Freedom Movement to promote an essentialist understanding of gender and to enact civilisational superiority. I derive several implications from this analysis. First, that it fosters Islamophobic policies at home. Second, that it undermines the revolutionary political project.

A Study on the Impact of the Internet+ Era on Korean Film Consumer Culture

Abstract In the late 1990s, the landscape of the Korean film industry underwent a major change as Korean films emerged strongly and swept through Asia and the world with their consumer culture. With the advent of the Internet+ era in the new century, the consumer culture of Korean cinema has changed dramatically. In order to study the impact of the Internet+ era on Korean film consumption culture clearly, this paper analyzes the change in Korean film genres with the Internet trend and the distribution of the Korean film industry in the Internet+ era through Internet information dissemination model and personalized recommendation algorithm. From 2012 to 2021, the main genres of Korean movies changed from romance, drama, and war movies to crime, action, and disaster movies. Among them, the average share of war films reached 11.20%. The average share of disaster films reached 11.11%. The average share of action films is 10.88%. The average share of drama films was 10.97%. In terms of the film industry, the market share of local Korean films has always been able to keep from being surpassed by imported films after surpassing them. 2013 saw the largest gap between imported and local films, with a difference of 19.4 percentage points. In the Internet+ era, audience psychology, consumer demand, and business models have had a profound impact on the consumer culture of Korean films, not only changing the traditional layout of the Korean film market but also allowing film creators to consciously or unconsciously introduce new consumer culture themes in line with the Internet public.

A woman should be scared: maternal ambivalence in Under the Shadow

ABSTRACT Mothers in horror films have been theorized as monsters through concepts such as the monstrous-feminine (Creed, 1993) and the monstrous-maternal. In this paper, I examine how this figuration of the maternal is taken up in the British-Iranian horror film Under the Shadow (dir. Babak Anvari, 2016). The film hybridizes the ‘maternal horror film’ with the genre of the Iran-Iraq war film, which also bears a complex relation to the figure of the mother. Drawing on the concept of maternal ambivalence, I argue that Under the Shadow posits in the mother protagonist and the feminine jinn (spirit) that haunts her a tension that unsettles the longstanding dichotomy between ‘good’ and ‘bad’ mothers in horror films. The film’s ambivalent position on mothers is expressive of a general cultural ambivalence toward mothers in post-revolutionary Iranian cultural politics.

Waging a good war: a military history of the civil rights movement, 1954–1968

On 7 March 1965, a young activist named Willie Emma Scott noted that approximately 600 unarmed Black protesters were organizing ‘into companies and squads, with company commanders and squad leaders’ and preparing to walk the 54 miles (87 kilometres) from Selma to Montgomery, Alabama (p. 267). Their aim was to draw attention to their quest for voting rights. Standing in their path, at the eastern edge of the Edmund Pettus Bridge, were hundreds of enemy troops, mostly state police officers, who attacked the marchers with steel pipes, clubs, whips, tear gas and pieces of hard rubber wrapped in barbed wire. The demonstrators were forced to retreat after suffering horrific casualties. Their leader, future Congressman John Lewis, suffered a fractured skull and 140 others were injured, 70 of whom required hospitalization. Fay Powell, an organizer listening to events unfold on the telephone, stated: ‘We could hear people screaming and sirens blaring; it sounded like the soundtrack from a war movie’ (p. 269).

A History of Forgetting

A History of Forgetting Elizabeth Wijaya (bio) REMAPPING THE SINOPHONE: THE CULTURAL PRODUCTION OF CHINESE-LANGUAGE CINEMA IN SINGAPORE AND MALAYA BEFORE AND DURING THE COLD WAR BY WAI SIAM HEE Hong Kong: Hong Kong University Press, 2019 REMAPPING THE SINOPHONE: THE CULTURAL PRODUCTION OF CHINESE-LANGUAGE CINEMA IN SINGAPORE AND MALAYA BEFORE AND DURING THE COLD WAR BY WAI SIAM HEE Hong Kong: Hong Kong University Press, 2019 What does it mean to remember an absence? Many of the films analyzed and listed in the filmographies of Hee Wai Siam's Remapping the Sinophone are doubly lost: both materially absent and barely present in film canons and popular memory. Even some of the films that have survived or have recently resurfaced and have been restored, such as Blood and Tears of the Overseas Chinese (Cai Wenjin, 1946) and Spirit of the Overseas Chinese (Wan Hoi-Ling, 1946), having already been once-forgotten, currently still have limited visibility as they can only be accessed at film archives or during special screenings. In Hee's Remapping the Sinophone: The Cultural Production of Chinese-Language Cinema in Singapore and Malaya before and during the Cold War, the status of whether a film is extant or nonextant is not always marked because Hee's concern is less with listing the material disappearances of the films than with tracing the causes and effects of the disappearances from the cultural histories of Chinese-language cinema. Through foregrounding lost but important films or rediscovered films and the debates surrounding their production, the ambition of Remapping the Sinophone extends to reclaiming the history of early Chinese-language cinema in Singapore and Malaya and positing the importance of this history for Sinophone and Cold War cinema studies. Remapping the Sinophone presents an indictment of forgetting and a call to remember that which has been obscured by historical and [End Page 197] geopolitical forces. The author argues that Mandarin and Chinesetopolect cinemas from Singapore and Malaya (1927 to 1965) have been neglected within academic discourse, cultural memory, as well as contemporary debates on inclusion and exclusion in cultural productions framed as Sinophone/Chinese-language. Hee is concerned that early Chinese-language cinema has been overlooked not only in Singapore and Malaysian cinema history but also in histories of Chinese-language cinema. This forgetting encompasses the films themselves as well as the debates on the term "Chinese-language cinema" in Singapore and Malaya in the 1950s. Hee's project of "remapping" the terrain of the Sinophone occurs alongside a recovery of the Singapore and Malayan roots of the "Sinophone" and "Chinese-language" debate as well as the Cold War context of the making and forgetting of this oeuvre that is further marginalized within the already marginalized cinemas of Singapore and Malaysia. In terms of the timeline covered in the book, 1927 was the release year for New Friend, the first locally produced film in Singapore, while 1965 was the year of Singapore's independence after separation from Malaysia and the last year in which the director Yi Shui made a film. In Hee's telling, 1965 was a crucial year of beginnings and endings, when Singapore's independence coincided with the end of Yi Shui's dream of the acceptance of the hybridized "Malayanised Chinese-language" cinema. The first chapter of the book begins with a debate over two non-extant films: New Friend (1927) directed by Guo Chuwen, and Leila Majnun (1934) directed by Balden Singh Rajhans. Hee argues that unlike what Latent Images by Uhde and Uhde claimed, New Friend (1927), rather than Leila Majnun (1934), was the first locally produced film in Singapore. Both films, though materially lost, remain significant in the entangled memory and legacy of Singapore and Malaysian cinema. The chapter continues with characteristically detailed research on the historical evidence pertaining to the production and release of New Friend. Hee ties the fate of New Friend to that of Chinese immigrants in Singapore and Malaysia, arguing that the neglect of New Friend reveals the "double rejections" of "Chinese immigrants in Singapore and Malaysia" by "national ideologies in their homeland and by postcolonial concerns in a new country" (45). For Hee, this double rejection is not...

Overlapping and Complicating: Analysis of the Effects of Experiments on Shaping Relationships between Female Characters in films on Feminist Attempts

Films involve a great number of stereotyped implications currently. For years, research on film studies and gender studies has been primarily focused on the transition of thread screenwriters, film directors, and editors could use for the creation of more real and inspiring female characters. However, few studies have focused on a fundamental structure of films, the relationships between characters. In 2020, scientists at the Ben Gurion University and Nottingham University Business School found a method to reveal links between characters appearing in the Star Wars Movies Series when they set out to find the closing gender gap in the Series. Although the 2020 study relied on network and machine learning algorithms in the largest part of the instigation, the methods it utilized are of pioneering endeavor because the social network between characters in the films was considered and weighted. To eliminate and seek out more positive effects films could have on feminist attempts, experiments on relationships between female characters are analyzed in this paper on a more literary level and accepts psychoanalytic and behavioral psychology. The methods utilized focus on implementing case studies on experimental attempts on creating overlapping and complicated relationships between female characters. This paper will also emphasize the inspiring 2020 study.