Western Movies Research Articles

Study on Cyberpunk Style in Movies

Cyberpunk is a fusion of cybernetics and punk, also known as digital punk. It originates from science fiction and primarily explores the future development of humanity in relation to artificial intelligence. The purpose of this thesis is to study the influence of cyberpunk style on film-making's theme, graphics, and post-effects. The movies theme mainly centers around anti-Utopian ideas, exploring the future fate of mankind and artificial intelligence with a pessimistic prediction. It explores the potential threat that artificial intelligence poses to the future society under the civilization of high mechanical development so as to criticize the contemporary society and cause self-reflection of human beings. Cinematography mainly utilizes colorful sci-fi elements such as skyscrapers and neon lights to create a futuristic world. In terms of color matching, dark scenes use low saturated dark colors to create a gloomy rainy day feeling while bright scenes employ reds, purples, and other highly saturated hues for a magical atmosphere that increases contrast between light and dark colors for visual impact. The post-film picture effects and background sound effects are very important for cyberpunk movies. Picture effects adjust the hue, saturation and lightness of the bright parts and enhance 3D buildings and cars to create a futuristic intoxicating atmosphere. Meanwhile, the music combines industrial, rock and other music styles to collide with special effects and sound effects, creating a virtual future space. Analyzing the western movie The Matrix and the Chinese movie Heaven Sent confirms our viewpoints and put forward expectations for human society. Ultimately, it comes to the conclusion that cyberpunk is not only a style, but also a way to convey new ideas.

Adaptation as cultural and medial transfer: George Tabori’s short story and radio play Weissmann und Rotgesicht

George Tabori (1914–2007), a Hungarian-born British playwright of Jewish decent, is closely associated with German Holocaust theatre. Less well-known is his prolific career in German radio drama. This contribution traces the trajectory of Tabori’s short story ‘Weissmann und Rotgesicht’ and its adaptation for German radio in 1978. The overall theme of its narrative can be identified as the issue of competing minoritized groups (Jews and Indigenous Americans), their respective identity politics and mechanisms of ‘othering’. My analysis first asks how the short story presents these questions, as it was written in a North American context primarily shaped by the popular cultural format of the western movie. Secondly, I ask how the topic is culturally and medially transferred to the radio play form, considering the production’s West German context of the late 1970s. My interest is guided by the question whether and how we can read this 1978 radio play as an intervention in the debate on the representation of the ‘Indian’ in popular German culture and its simultaneous erasure, several decades after the Holocaust, of the Jew.

The Male Gaze Like in Chinese and Western Movies

The Male Gaze Like in Chinese and Western Movies

THE TRANSLATION OF TABOO UTTERANCES IN FIFTY SHADE OF GREY MOVIE SUBTITLE

The purpose of this research is to find out analysis translation about taboo words in the movie. Taboo words is word or group of wourds that contain ambiguous or exactly inappropriate meaning. Taboo word may be not used or heard for under age. Furthermore, Taboo words might be very dangerous and inappropriate in our country, Indonesia. Whilst there are almost every western movie contains the taboo words. Maybe the purpose is to adjust with the plot or the theme of the story and to adapt with their culture or to make the movies looks natural. The movie transcript and subtitle that used is ‘Fifthy Shades of Grey”, because this movie is about a man named Grey who have a sadistic in sex, so that obviously, this movie contains so many taboo words. In this research, the methods that it used is observation and analysis of the transcript from English (SL) into Indonesia (TL), especially non-participant observation methods. Taboo words is devided into 10 types and it would be explained and there are some examples for each type. Overall, the purpose of this study is to analyse the types of taboo words and to find out how taboo words are translated from SL to TL.

Covid-19: National Lockdowns and Social Distancing Exposes Gender Inequalities in the Market Places of Zimbabwe

The day the earth stood still! This is a title of a western movie production that is pregnant with meaning in as much COVID-19 is concerned. However, this was not a matter of a day as days turned to weeks and weeks turned to months. Lives have been turned upside down for the entire human race. Different economic statuses have also had both negative and positive impact on families the world over. Female breadwinners are facing difficulties in trying to look after families during this COVID-19 environment. The African continent found itself on the receiving end and had to systematically respond to this global pandemic through the announcements of closing borders and lockdowns in a bid to combat the spread of the deadly virus. Several gender policies and instruments have been put in place to create gender responsive environments. It is while implementing these measures that the Zimbabwean societies have realised that the female bread winners are on the losing side as most of their activities are directly affected by the se covid-19 safety measures. It is on this background that this paper is underpinned to demonstrate the vulnerability of the females on the market places. The study which is informed by qualitative research, made use of document analysis. In addition deep structured interviews with female breadwinners. Due to social distancing measures all interviews were conducted online. The paper also put in place recommendations that can be implemented during and after covid-19 period, so that there is gender equity in the market places.

Adjectival Collocations of The Word Bali in The Western Movies: Evidence from Three Corpora

Adjectival collocation could depict the representation of things, such as place and individuals, i.e., a particular group, ethnicity, or community. While extensive studies on adjectival collocation and representation have been conducted in the Western context, only a few studies exist to explore a specific place in Southeast Asia. Consequently, this study aims to explore the adjectival collocation and representation of the word Bali from the Western perspective through its movies. To achieve the study’s objectives, a corpus linguistics approach was applied by utilizing three English corpora: The TV Corpus (TV), The Movie Corpus (Movies), and the Corpus of American Soap Opera (Soap), where the highest adjectival collocations from each corpus were collected to scrutinize context and representation. The findings of this study revealed that the adjectival collocations of the three corpora demonstrated five critical representations of the word Bali in Western movies: tourism, religion, history, terrorism, and crime. Further, the adjectival collocation of the word Bali represented the island as an exotic tourist destination with unique local beliefs and a long history. The word Bali was also represented to experience terrorist attacks and drug smuggling cases that made headlines nationally and internationally. The representations of the word Bali in Western movies adhered to events that significantly affected the island. AbstrakKolokasi adjektiva dapat menggambarkan representasi suatu hal, seperti tempat dan orang, yang terdiri atas kelompok, etnis, atau komunitas tertentu. Meskipun studi ekstensif mengenai kolokasi adjektiva dan representasi telah dilakukan dalam konteks Barat, hanya sedikit studi yang mengeksplorasi suatu tempat tertentu di Asia Tenggara. Oleh karena itu, penelitian ini bertujuan untuk mengeksplorasi kolokasi adjektiva dan representasi kata Bali dari sudut pandang Barat melalui film. Untuk mencapai tujuan penelitian, pendekatan linguistik korpus diterapkan dengan menggunakan tiga korpora bahasa Inggris: TV Corpus (TV), The Movie Corpus (Movies), dan Corpus of American Soap Opera (Soap). Kolokasi adjektiva tertinggi dari tiap-tiap korpus dikumpulkan untuk meneliti konteks dan representasi. Temuan dari penelitian ini mengungkapkan bahwa kolokasi adjektiva dari ketiga korpora tersebut menunjukkan lima representasi kritis dari kata Bali dalam film Barat: pariwisata, agama, sejarah, terorisme, dan kriminalitas. Kolokasi adjektiva dari kata Bali merepresentasikan pulau ini sebagai tujuan wisata eksotis dengan kepercayaan lokal yang unik dan sejarah yang panjang. Selanjutnya, kata Bali juga direpresentasikan mengalami serangan teroris dan kasus penyelundupan narkoba yang menjadi berita utama secara nasional dan internasional. Representasi kata Bali dalam film Barat sejalan dengan peristiwa yang secara signifikan mempengaruhi pulau ini.

Changes and trends based on perceived lifestyles reflected in movies

The impact of movies on society has been studied by researchers and film professionals for decades. However, less attention is focused specifically on changes and trends regarding perceived lifestyles reflected in movies. This paper aims to collect and examine the various trends that have emerged as a social impact of lifestyles through their portrayal in movies (and in some cases, television shows, that are becoming more and more prevalent form of entertainment). As Movies are universally accessible and popular media, they have the potential to influence the values, lifestyles and attitudes of consumers. The relevance and importance are further enhanced by the fact that through the cultural consumption they aid us in familiarizing, understanding and processing the social changes, new lifestyles and current problems. The logical structure of this paper follows the trends as major themes and their emergence in movies. The themes examined – mainly through the systemization and analysis of literary sources and approaches – were health awareness, addictions (tobacco products, alcohol and narcotic drugs in particular), environmental awareness and sustainability, privacy and relationships (through the representation of men and women in various lifecycle stages and the young adults’ perception of sex), and the geek subculture. The research scope of the paper focuses on the western movie releases of the past years, mainly of the United States of America, because they represent the greatest global influence and reach of the movie industry – with constant releases and popularity all over the world. The results of the paper showed that these aforementioned themes reflected in movies have the capacity impact individuals’ values, lifestyles and attitudes. Furthermore, the paper will be useful for any researcher who wishes to gain a deeper understanding of the non-advertisement based – as in not product placement, merchandising or other forms of advertisement in the immediate environment of movies – marketing content that has an impact through popular movies on society and consumer behavior.

Analysis and Research on Chinese-English Intertranslation in the Context of Cross-Cultural Communication

In recent years, with the increasingly frequent exchanges of film and television works around the world, the problem of Chinese-English intertranslation has become more and more prominent, and the influence of cross-cultural communication is expanding. This thesis focuses on the current situation of translation and the analysis of English-Chinese intertranslation in the cross-cultural context, and also lists the representative movie titles and line translations in Chinese and Western movies for comparison. In order to better reflect how intercultural communication affects English-Chinese intertranslation, this paper is studied through literature analysis, comparative analysis and case study method. This thesis finds that the study of intercultural communication is necessary because it has an important influence on English-Chinese intertranslation and can help translators to correct some problems in translation to a certain extent.

“Norman as Academic Shane”

On hearing the news of Norman Denzin’s death, the author engages a performative reflection, as film analysis, comparing the character of Shane from the 1953 Western movie to Norman Denzin. A social justice theme is played out in the text, keying in on Norman’s commitment to analyzing the Western motif.

Changes of the Image of Chinese People in Western Movies under the Speech Accommodation Theory

Changes of the Image of Chinese People in Western Movies under the Speech Accommodation Theory

Ad hoc Screen Translation in Soviet Estonian Film Clubs

In Soviet Estonian official cinemas, foreign films were always dubbed into Russian with Estonian subtitles. Founded at the end of the Thaw, film clubs and other semi-official screening locations became popular as part of the alternative scene and unauthorised discourse. They screened uncensored original Western European and Hollywood films and thus the works of forbidden film directors and cinema movements from the West were introduced to a limited audience of film enthusiasts. Compared to other Soviet Socialist Republics, Estonia was in a privileged geographical and linguistic position to be able to access the films of the West via Finland. Film clubs looked beyond the Iron Curtain and opened up a cultural dialogue between the West and Soviet Estonia. This article analyses the repertoire of foreign films and different translation modes, social relations and the agency of the interpreters, and it looks at their interpretative act from theoretical perspectives discussed by Juri Lotman and Naoki Sakai. Lay Summary: In the era of Soviet Estonia, where foreign films were typically re-edited and dubbed into Russian, film clubs emerged as underground screening locations that offered uncensored original Western European and Hollywood films. These clubs played a crucial role in introducing the works of forbidden film directors and cinematic movements from the West to a limited audience of film enthusiasts. Soviet Estonia stood out in three significant aspects: 1) it was the only SSR to subtitle all films in the official cinema into Estonian; 2) it had a vibrant film club culture in universities with diverse repertoires from Finland, and all films had a live translation into Estonian, 3) and it had access to Finnish television broadcasting Western movies that were otherwise not shown in the Soviet Union (Estonian and Finnish are closely related languages that share many semantic and grammatical structures). Compared to other Soviet Socialist Republics, Estonia had the advantage of its geographical and linguistic position, facilitating a socio-cultural dialogue with the West. The various translation methods employed, often conducted on an ad hoc basis, social dynamics, and the role of interpreters in the film clubs, played a transformative role in dismantling the barriers of the Iron Curtain. Interpreters, by navigating the boundaries between the original films and their translations, significantly influenced the understanding of Western cinema and culture in Soviet Estonia.

A Study on Chinese Audience's Receptive Behavior towards Chinese and Western Cultural Hybridity Films Based on Grounded Theory-Taking Disney's Animated Film Turning Red as an Example.

For a long time, Chinese audiences have not had a high opinion of hybrid Chinese and Western movies. However, the unanimous praise for Turning Red in China se ems to have reversed this situation. In order to verify whether the attitudinal behavior of Chinese audiences toward the film's hybridization of Chinese and Western cultures has changed, this study collected textual materials reflecting the Chinese audience's receptive attitudes toward the film: Douban reviews, short reviews, questionnaires and Mtime.com reviews. Through a grounded study of 664,312 words, a total of 16 initial categories and four main categories were obtained. Finally, a cognitive-emotional-attitudinal mechanism model was formed to explain the audience's receptive behavior process. The study found that Chinese audiences' positive reception of Turning Red comes more from the fact that the film touches on personal emotions and focuses on a series of issues such as growing up, family, and gender, with intergenerational conflict as the core. The audience achieves self-projection and empathy while watching the film, rather than recognizing the Chinese culture presented therein. On this basis, the research further found that the internal structure of the current cultural hybridity has not changed greatly. The reason audiences do not give a high evaluation of cultural hybridity films lies in the lack of conscious distinction between the hybridity culture and the local culture. At the same time, in terms of cross-cultural creation, we should abandon the blind pursuit of cultural symbols, take root in cultural soil and then pay attention to more specific problems. This study reveals that the key factor affecting the audience's receptive behavior toward cultural hybridity films is not necessarily the performance of local culture, which is of great significance for establishing new evaluation criteria.

West German Single Action Army-inspired Revolvers in the United States

After the Second World War, the proliferation of western movies and television shows in the United States drove substantial demand for revolvers styled after the Colt Single Action Army. While domestic companies such as Ruger, Great Western, and Colt themselves provided products to fulfil this demand, there were market opportunities for imported revolvers as well. Today, Italy dominates the U.S. consumer market for imported historical replica firearms, but at one time West Germany—with its still-recovering post-war economy—was a substantial source of inexpensive single-action revolvers. Despite their prevalence, very little has been published on these revolvers. To date, five West German firearms companies have been identified as producing these revolvers for the U.S. consumer market. Prior to the Gun Control Act of 1968, there were limited product marking requirements, which, combined with these revolvers being imported under a wide range of brands, can make identification challenging. This article provides an overview of the broader post-Second World War U.S. market for Colt Single Action replicas, provides a summary of each of the five key West German manufacturers, and presents a straightforward identification schema allowing the reader to differentiate between common makes and models.

Las películas de la Revolución Mexicana en el mundo de la posguerra (1950-1973). Una propuesta metodológica

The article offers a hypothesis about the political impact of western movies situated in revolutionary Mexico during the 1960s. Based on the data from projections of 59 movies (regardless of their origin) in Rome from 1950 to 1973, due to the genre’s popularity in Italy, and their comparison to other accessible data from the international press, the article concludes that the revolutionary westerns had an important political impact in Italy, where a significant number of them had been produced, whereas elsewhere in Europe, and especially in the US, their political impact was rather limited or hard to identify. The reason seems to be the peculiar features of Italian social and cultural reality (political violence, strong communist party, or the southern question).

TIME AND SPACE IN THE FILM YAHSI BATI

ABSTRACT
 People, objects or assets are positioned by using the concepts of time and space over the world. Time and space are constituent elements of life which help to understand to the world. People cannot live independently from the concepts of time and space and these concepts can be freely used in the cinema. Cinema as a mass communication tool that constantly evolves and changes itself provides the possibility of infinite freedom to director. In the movie, time and space can be shaped according to the director's requests and every director can be apply to different ways while using these two concepts in their films.
 From beginning to present day, usage of time and space in a movie has showed differences at cinema which is one of the mass media. In this study, it is aimed that how the western movies that are the ancestors of cinema has experienced a change as a type and how time and space were used these kinds of movies. Especially the study is going to focus on how time and space were used in a western movie, Yahsi Bati (2009), filmed in Turkey. In the content of study, the film Yahsi Bati directed by Ömer Faruk Sorak will be analyzed that used in numerous different transition methods and semiotic elements. In the first part of the study, time and space concepts will be explained and the second part of study history of western movie and time and space usage in western movies will be explained. In the last part, the film Yahsi Bati is analyzed semiotically.

The Making of an Ethnographic Film of the Hopi Snake Dance in August 1898: A Reconstruction from the Photographic and Textual Record

This article was prompted by a plate published in the foundational text, Principles of Visual Anthropology, which purports to show a film being made by Thomas Edison of the Snake Dance as performed in the Hopi village of Orayvi, Arizona, in August 1898. This footage is now lost but could still have been one of the first ethnographic films ever made—depending on how one defines “ethnographic.” Here, contesting its attribution to Edison, we seek to reconstruct the content of this footage, drawing on the extensive photographic record made at the event, along with textual accounts by eyewitnesses and contemporary newspaper reports of subsequent screenings of the film material. We conclude by discussing the ethnographic status of the film footage, which also included sequences of a Navajo “tournament,” shot in the course of the filmmakers’ return journey, which foreshadows the tropes of the travelog and the Western movie. We hope that, if this material still exists, by correctly identifying the filmmakers and by describing the content of the footage, this article will help in locating it, particularly given the recent great improvements in the cataloging of and access to early film archives made possible by digital technology.

The Influence of Pontianak Melayu Dialect Towards the Students’ Pronunciation of English Speech Sounds

This qualitative research attempted to review the influence of the Pontianak Melayu dialect on students’ English pronunciation of English speech sounds. The objectives of the study were to explain the influence of Pontianak Melayu dialect on students’ English pronunciation of vowels, consonants, diphthongs, and consonant clusters and to explain the way teachers play their roles to improve students’ pronunciation. This study used a qualitative case study design. The subjects of this study were 17 students from seventh-grade of Junior High School who are originally from the Pontianak. The data were collected by using questionnaires, students’ recordings, observation checklists, and interviews. The results of this study show that the Pontianak Melayu dialect contributed insignificant positive transfer on English vowel sounds [ɔ:], [ʊ], and [ɒ]. It gave significant negative transfer on English consonant sounds [f, v, k, s]. It also gave insignificant negative transfer on English diphthong sound [aɪ]. It gave significant negative transfer on English consonant cluster sounds [fr] and [kl], and significant negative transfer on three consonant clusters. Meanwhile, the teacher did play her role in improving students’ pronunciation. Based on the findings, it can be concluded that the Pontianak Melayu dialect did not strongly give positive and negative transfer to the students’ English pronunciation. The easiness might be caused by the similarities between the Pontianak Melayu language and English. The difficulties might be caused by the lack of students’ knowledge about correct pronunciation, lack of pronunciation practice, students’ inability to recognize the words, and spelling interference. In teaching pronunciation processes, the teachers and the students should be supported each other to reach the best achievement. The teachers taught by supporting media such as English songs, western movies or English short stories, etc. Meanwhile, the students practice more and more.

Female images in the movies of the 2010s about the World War I

The subject of this research is the yet poorly studied topic of representation of the female images in military media sources, namely movies and TV series of the 2010s. The choice of sources is substantiated by the new approaches towards delivery of information, new characters and patterns that correspond to the modern media trends; as well as by a wide range of projects timed to the centenary of the World War I. The key tasks of this article lie in determination of the role of women and characteristics of female images in a number of movies and TV shows of the 2010s about the World War I. The author carries out a comparative analysis of reflection of the Western and Russian cinematography associated with the representations on the gender hierarchy that is seen through interaction between men and women in the material under review. The article reveals the main patterns that are most commonly used for describing the role of women in war. The conclusion is made that a certain variety of female images that have recently appeared in cinematography indicates the interest of historians and researchers dealing with memory, gender, media and visual culture. The comparative analysis of sources demonstrated that the representation of female images in movies of the 2010s about the World War I reflects a certain difference in the officially broadcasted sociocultural and ideological perception of women and their role characteristic to modern Russian and Western society. The Russian movies are oriented towards expressing the official state concept of traditional values and women's affiliation to family and the country; while Western movies create the images typical for their cultural reality, which do not neglect the role of wives and mothers, however allow the heroines to transcend family interests.

Faroeste brasileiro: a boi, a bala e a bíblia.

Throughout the years 1953-1979, bloomed a popular Brazilian cycle of films closely related to the North-American Western gender. Notwithstanding, these Westerns fell quickly into oblivion, mainly due their lack of aesthetics innovations and their undisguised commercial drive. Nevertheless, once it was bound to satisfy the collective phantasies of its audience, the corpus of these films displayed a plethora of representations pertaining to their sociocultural, historical and political environment. They provided a profuse amount of audiovisual material open to researches in a variety of fields – gender representation, psychosocial culture, authoritarian politics and ethics – which are still at work in actual Brazilian social, institutional and political practices. And since they were bound to please a masculine audience, Brazilian Western movies framed a striking fictional world underlined by the psychoanalytical theme of the figuration of women as the absolute model of alterity. Women were usually placed as imaginary emblems of private property, democratic values and/or Christian faith, which, by their turn, performed dramatically under three signifiers: the “Bull”, the “Bullet”, and the “Bible”. Depicted not as proper characters and deprived of dramatic motivations, they were, by consequence, liable to specific modalities of physical violence – abduction, torture, rape and murder. Cruelty against the feminine body blended together the misogynistic bias of Brazilian culture with the masculine impotence during the authoritarian dictatorship epoch in a framework which could only be furnished by the imaginary themes and structures of Western movie.

ЖАНР РОУД-МУВИ В ЗАПАДНЫХ ФИЛЬМАХ И КИНЕМАТОГРАФЕ МУСУЛЬМАНСКОГО ВОСТОКА

The article analyzes specific features of the Road Movie genre in a historical perspective on the example of the Western countries film production and Iran national cinematography. To that end the authors focus on genre and semantic variety of classical movies, a «proto-road-movie» and the Road Movies of nowadays. A comparative approach to the study of the genre formula provides for revealing the nuances in the stylistic techniques of directors and defining the national features of the semantic core of the Road Movie genre in both the Western movies (created in Europe and the USA) and in the films of the East (Iranian New Wave). While maintaining a number of aesthetic features that are similar in Western and Eastern Road Movies, one can nevertheless observe a significant difference in the way of representing the concept of the Path (the Road) by directors from the West and from Muslim countries. The article gives a detailed analysis of the Road concept in the context of Islamic cinema. Studying the symbolic of the Path and the Travel in Muslim tradition the authors refer to the norms of Sharia, Sufism and to the mode of the life traditions of the Middle Ages and our days. Special attention is paid to the movies of a well-known Iranian director Abbas Kiarostami. Working before and after the Islamic Revolution (1978–1979) he was the one of the founders of the New Iranian cinema.