World Of Cinema Research Articles

Allusion as a means of implementing intertextuality in English-language online film review

The article discusses ways to actualize allusion as an intertextual element. Intertextual inclusions in the texts of the film review are designed to illustrate the degree of professional competence of the reviewer and his interpretative qualities using the comparative analytical method. Allusion, being a stylistic device for the realization of intertextuality, contains a certain pretext. This pretext performs the function of a precedent phenomenon associated with some collective invariant component of linguistic consciousness. The purpose of this article is to consider in film review the ways in which allusion functions as an intertextual reference. The empirical material of this study was a corpus of 30 movie reviews from 2021–2023, taken from the review aggregator website Rotten Tomatoes. Direct or indirect reference to a specific cinematic phenomenon not only increases the general erudition and awareness of the reader, but also serves as a means of providing a perlocative effect when reading this film review. Allusion, being a means of realizing the author’s pragmatic intentions, performs a comparative function by building intertextual references. The referents in film reviews are the names of films, directors, actors and other precedent units of the world of cinema.

Analisis Tindak Tutur Perlokusi dalam Film Kembang Api Karya Herwin Novianto

Speech acts play an important role in conveying meaning through utterances. In these utterances, sometimes there are utterances that can cause effects called perlocutionary speech acts. Speech acts can occur in the world of cinema, especially in dialog between characters. As in the movie Kembang Api by Herwin Novianto, which tells about a series of life problems and suicide attempts packaged with the concept of timeloop. The interesting thing to study from the selection of this film is that the conditions experienced by the characters in the film are considered relevant to the current situation. This research aims to gain a deeper understanding of the use of perlocutionary speech acts in movies. Through this research, we can understand how perlocutionary speech acts are represented in the movie Kembang Api. This research uses descriptive qualitative method with pragmatics study. This research utilizes data in the form of perlocutionary speech acts, such as verbal, nonverbal, and verbal nonverbal. Data collection is done using listening and note-taking techniques. The data analysis technique in this research uses the flow model analysis technique. Based on the data and analysis, 75 perlocution data were found which were classified into verbal, nonverbal, and verbal nonverbal which were adjusted to the type. This research has implications in adding to the reader's repertoire of knowledge related to references to the delivery of polite criticism. The movie has potential in fields of science other than pragmatics such as psycholinguistics.

Penerapan Dutch Angle Dalam Enggambarkan Emosional Pada Film “Tolong Aku”

Film, as a genre in the world of cinema, offers a short but captivating audiovisual experience. Films have the potential to create creative, entertaining works and have high artistic value. In the filmmaking process, various techniques and elements are used to improve the quality of the final result. Films are able to convey messages and emotions through various means, including dialogue, visuals, music and special effects. This research focuses on the important role of shooting techniques or cameras in film making. One of the techniques taught is Dutch Angle or Dutch Tilt, which involves tilting the camera angle on a vertical or horizontal axis. This technique is often used in the thriller and horror genres to create a dramatic effect on the audience. The film "Help Me" is an interesting case study, utilizing the Dutch Angle to produce emotions such as sadness, fear, anger, and surprise in the audience. The story of this film tells the story of a student named Dinda who is trapped in an organization that adheres to devil beliefs. Through the use of Dutch Angle, the audience is presented with an unstable atmosphere, creating tension and anxiety that blends with the main character's experiences. The aim of making the film "Help Me" is to apply the Dutch Angle technique to arouse the audience's emotions. In this way, the author hopes to strengthen the message and emotional nuances conveyed through this film. This research also aims to provide an overview of how shooting techniques in films can influence the audience's perception and emotions towards the work.

Performative Cinema and Its Techniques

The aim of this paper presentation is to analyze in-depth the transition and transformation of performance art into the world of cinema, creating the notion of performative cinema – a notion that is very present in today`s cinematic language, however not enough recognized as a movement in itself. The core mantra of performative cinema is the involvement of the spectator – both the emancipation of the viewer in an age of consumerist blockbusters and his awakening into a certain state of mind (in some cases, performative cinema can even lead towards transcendental meditation). The paper will briefly follow the origins of performative cinema and its techniques, with roots in the works of Alejandro Jodorowsky, Pier Paolo Pasolini and Pere Portabella, while reaching into the present through works of film auteurs like Apichatpong Weerasethakul and Yorgos Lanthimos. The presentation will focus to unveil and analyze the approaches of performative cinema, conveying how it works as a piece of performance art in itself – and how its relay into cinema can be direct, with a dadaesque influence through a transgressive political message (`Holy Motors` by Leos Carax representing an example), or more subtle – through nuances and refined directorial interventions (Weerasethakul`s `Memoria`). The systematic analysis of these movies as core examples of performative cinema means an enterprise into both the narrative elements and the visual identity of the films, with the purpose of classifying a genre that has remained unknown for too long, deserving the treatment of a cinematic wave in itself.

Aesthetics of Color in Afghan cinema

In the world of existence, everything takes its existence to be visible from the light. Light gives color and beauty to objects and creatures. Color gives them an expressive profile. When objects have color, they are seen better and the audience is more attracted to them. In many cases, manufacturers use colors to attract their buyers so that they can attract them to that product.This issue also exists in the cinema. Since the beginning of the cinema until today, all filmmakers have been trying to create a dream space for their audience so that they can convey their desired message to the audience in that space. Therefore, in different eras, new technologies entered the visual space of cinema. Color was one of the effects that entered the silver screen and changed the world of cinema. Color is like spice in food. Just as spice gives food lust, color gives soul and feeling to the image. Today, many filmmakers, apart from feeling and attractiveness, give meaning to the image through color. Because the image is a visual medium, the filmmaker can use the psychological states of colors to induce certain feelings of the scene and story to his audience.In the western world, the use of color and sense of color in the scene has become a common category and all filmmakers use it well, but this case has not grown much in the cinema of Central Asia, especially in the Middle East countries. In countries like Iran and Afghanistan, they cannot use color properly because many filmmakers in these countries do not know color properly, and this lack of knowledge about color in many cases makes them unable to use color correctly and have amazing effects. have it on the audience and convey the message to the audience.In many Central Asian films, the absence of color psychology in the films is clearly understandable. Few filmmakers like Asghar Farhadi in Iran try to use color correctly. But in Afghanistan, it can be said that there is no filmmaking that can use color in the right way. But in Indian cinema, they use color in an exaggerated manner, of course, it should be said that part of this exaggeration is due to the type of Indian culture that they are more interested in happy colors and in their country they have a special festival called the festival of colors. But in European and American cinema, color is used to convey the feeling of the scene and story. For example, in the movie Avatar, blue color can be seen in most of the film space. And it evokes a special feeling towards the scenes of the movie, or like Stanley Kubrick who uses colors with a very special skill in the movie «Eyes Completely Closed».Such scientific and meaningful uses are not seen in any of the Middle East films, especially in Iran and Afghanistan. In many cases, it can be attributed to the low level of study and understanding of color and the scientific concepts of color in cinema by Afghan filmmakers.

Literary Associations in Rhyme Slang: Charles Dickens and His Characters in Rhyme Slang

The article aims at describing the literary associations of rhyming slang associated with the name of Charles Dickens, a classic of world literature, whose works were included in the treasury of both English and world literature and who became the most popular English-language writer during his lifetime, to reveal how the work of the eminent writer and unforgettable colorful characters, many of whom have become recognized types in English fiction, are represented in rhyming slang. The topic is examined using rhyming slang samples of containing the names of characters and titles of Charles Dickens's works, selected by a continuous sampling method from authoritative dictionaries of general and rhyming slang. Expressions of rhyming slang that refer to some important work of a writer or are based on the names of some significant characters are cultural items that are reflected in the collective memory of the British and are thus included in the so-called “current background knowledge” and “background knowledge of cultural heritage”. The rhymes contain precedent onyms and reflect the tendency to create new onomastic rhymes built on the names of famous and popular personalities from the world of cinema, pop music, show business, sports, politics, etc. Literary associations have not yet been the subject of special analysis and undoubtedly deserve linguistic and sociocultural description. The author's attention was drawn to the little-studied area, the analysis of which sets a new vector for the study of rhyming slang, which deals with cultural and historical items that are of certain value from the point of view of culture-oriented linguistics, cross-cultural communication and the general study of culture. The results of the study may be of use and interest to specialists developing topics in intercultural communication, linguocultural studies, contrastive linguistics of the English and Russian languages, foreign (English) literature, speech culture and in the practice of teaching English.

Exploring the Narrative Literature in Films

This paper delves into the theme of narrative literature within the realm of cinema, placing a particular emphasis on the diverse array of narrative techniques utilized by filmmakers to evoke emotions, disseminate information, and intricately cultivate character development. Through a comprehensive analysis of the multifaceted narrative components inherent to the cinematic medium, it endeavors to provide an enriched comprehension of how film manifests as an intricate and enthralling narrative platform.The narrative literature of film serves as a multifarious tapestry interwoven with various threads, each contributing to the overall impact of a cinematic creation. Keywords for this exploration include "narrative techniques," "emotional conveyance," "information dissemination," "character development," and "cinematic narrative medium."By scrutinizing these facets, we aim to unearth the artistry behind storytelling in film and underscore its pivotal role in captivating audiences worldwide. In doing so, this paper seeks to highlight the intricate craftsmanship that underpins the mesmerizing world of cinema, where narratives are brought to life through a symphony of visuals, dialogues, and symbolism, leaving an indelible imprint on viewers' hearts and minds.

VR in French Cinematography:

In my research I am trying to establish the relation between Cinema and VR. The cinematic approach to VR has been particularly strong in France, as a lot of professionals from the world of cinema have been investing themselves over the past decade into fi nding a way to make VR movies, and in that way to move beyond the limitations of traditional cinema and approach the holy grail of the pioneers of the cinema, defi ned by Basin as “total cinema”. In my text I propose to analyze some example/s of French VR movies, such as in Alteration, Eternal Notre-Dame, I Philip, and Notes on Blidness.

MYTH OF VIOLENCE IN VENOM: LET THERE BE CARNAGE (2021) SEMIOTIC ANALYSIS

Popular culture is a product created for many people. The audience’s tastes are essential in production. Besides that, popular culture can also describe a culture that exists in society. One popular product that people like is film. Along with the times, the world of cinema also has more exciting story plots and various characters. One is an American film called Venom: Let There Be Carnage. The film shows signs of the violent formula usually used in American cinema. Therefore, this journal discusses Venom, who is an anti-hero who uses much violence to deliver his existence but has a heroic soul, and also Eddie Brock, an ordinary human who acts as a host who has contradictory traits with Venom even though they live in one body—coupled with conflicts with other villains characters such as Carnage and Cletus Kasady. Researchers present signs of violence using dialogues and movie posters as data references. Also, the characteristics of the heroes used using semiotic analysis supported by John Cawelty’s Myth of Violence theory. With this method, the researcher also describes the culture of violence in American society.

Evolution of Indian Cinema and Its Impact on Indian Culture

Indian cinema has greatly contributed to the globalisation of Indian culture, the world of cinema has seen many changes, this paper will shed some light on the societal impact of Indian cinema. Owing to the enhancement of technology and creativity, cinema has been a major influence on people's world views and perspectives. By examining major Bollywood and Tollywood films, this paper will analyse how Indian cinema has affected the course of Indian history. Moreover, the paper presents what changes have occurred in the opinions of the masses as a result of cinema's impact on Indian culture and society.

“One of Those Guys in the Movies”: Juvenile Rebellion and Carnal Subjectivity in J. D. Salinger’s The Catcher in the Rye

J. D. Salinger’s classical initiation novel The Catcher in the Rye starts out with a scene of blatant rejection of traditional Hollywood movies. “If there’s one thing I hate,” the first-person narrator Holden Caulfield tells us in the book’s opening passage, “it’s the movies.” Despite – or maybe because of – this harsh initial claim, the novel continues to nourish the impression that the narrative voice is, in fact, enthralled by the world of cinema. In my essay, I will argue that the love-hate-relationship between the protagonist and the cinema is vital to an understanding of the literary aesthetics of The Catcher in the Rye. Furthermore, I want to show to what extent the paradoxical notion of resistance to / love of movie images is connected to the concept of juvenile rebellion cultivated throughout the novel. Interestingly enough, Catcher not only mimics its protagonist’s tentative acceptance of a “movie-made” environment. It also, quite literally, absorbs and reconstructs the aesthetic patterns attributed to cinema via its vivid re-enactment of the character’s personality. Cinematic texts, film scholar Vivian Sobchack holds, are capable of producing sensations in the audience that go far beyond the level of visualization. In The Catcher in the Rye, I argue, a “cinematic” process of involvement of the recipient is set in motion. The act of reading here becomes an act of passionate interaction with the novel which unleashes not only the figurative potential of the text but also the creative abilities of our own imagination. While perusing the novel, we are led to believe that we are actually there when Holden undertakes his odyssey through the city. By deploying sophisticated strategies of spontaneous activation and visceral involvement – techniques also used in film to achieve an effect of reality – the novel thus literally operates as a film.

Les projections de pensée ne sont que des films que nous nous faisons sur les autres et qui sont le produit de nos différents enfermements. Rapport sur le projet „Philosophie vivante“

"Thought Projections Are Nothing but Scenarios We Construct About Others and Are the Products of Our Own Closed-Mindedness. Report on the ""Living Philosophy"" Project. This text is a reflection on Projections. The aim here is to show that it is necessary to go beyond the Freudian concept to offer a more open reading of the concept of projections. The term is taken in its true sense. Projection is mainly used today in the world of cinema and entertainment. To be victim of a projection is to “make himself is proper film” of reality and live in an imaginary world. Our idea is to maintain that these projections develop in the era of the spectacle which is ours. The term “société du spectacle” is borrowed from Guy Debord. However, we distinguish ourselves from him by maintaining that the spectacle is only an epiphenomenon which is only the result of a culture of secret itself produced by contemporary narcissism. This work is the continuation of a series of conferences which are organized within the framework of a movement called Living Philosophy. This movement aims to bring philosophy back to life by leading it into living spaces and bringing it down into bodies, streets and villages. To do this, she wants to be creative and bring together the Ancients, the Moderns and the post-moderns. Living Philosophy is a movement built on the idea of dialogue and mediation. Keywords: philosophie vivante; Freud, Sigmund; projections; Debord, Guy; narcisism."

Moviebox: A Movie Recommendation System

Abstract: In the vast world of cinema, numerous critically acclaimed movies often go unnoticed, despite their significant artistic and cultural value. Recognizing this disparity, our research endeavors to bridge the gap by developing a comprehensive movie recommendation system that highlights these "Out of the box" films. In the initial phase, we meticulously collected a bespoke dataset by scraping data from IMDb, encompassing a wide range of movies from various genres and regions. In the subsequent phase, we constructed an advanced algorithm utilizing content-based filtering techniques. This algorithm analyzes both user behavior and movie features to provide personalized recommendations that align with users' unique preferences. By embracing this approach, our research aims to enhance the discoverability and appreciation of lesser-known yet meaningful movies, empowering users to explore a diverse array of cinematic experiences.

Sentiment Analysis on Movie Review from Rotten Tomatoes Using Logistic Regression and Information Gain Feature Selection

The advancement and development of technology today can have a positive influence on the use of the internet and also on the dissemination of information it contains, including information about the world of cinema. With this convenience, there are many movie reviews that can be obtained easily. Movie reviews are very influential in the various ways movies are available. Thanks to the ease of various information on the internet, the number of movie reviews has become diverse. Therefore, it is necessary to do a sentiment analysis. In this research, the classification method used is Logistic Regression. The method was chosen because it has accurate classification accuracy. In this study, Information Gain was also chosen as a feature selection because it is good enough to do a filter approach in classification. Furthermore, for feature extraction, TF-IDF was chosen because it can overcome data imbalance in the dataset. The best model resulting from this research is a model built without using stemming in the preprocessing stage, without using information gain feature selection, and using parameters in Logistic Regression which produces an f1-score of 76.50%.

Moral Messages in the Film Wedding Agreement The Series (Roland Barthes Semiotic Analysis)

Film is a medium that is used and developed by humans to convey communication through storylines and narratives in the form of audio and visual. In the world of cinema, films have their own value. Film as an object of art should be judged artistically, not rationally. Semiotics is the study of science or analytical methods to examine signs in a context. Therefore, a good film will convey information well as well. Implicit messages in a film are the ideas, ideas, and goals of the director or film script writer.

EFFECTS OF SOUND AND HOW AUDIENCES PERCEIVE’. A SPECIFIC REFERENCE STUDY USING THE MALAYALAM FILM "JALLIKATTU

In the world of cinema, audio is more important than visuals. According to the Academy Award-winning sound designer, "sound in cinema is a subconscious craft." In movies, the emotions, mood, story, and feelings are produced using music and numerous forms of sounds. The three types of sounds employed in the creation of movies are human voices, music, and sound effects. These three types of noises need to be present for a viewer to interpret a movie as genuine. The Aurangabad Film Festival's best sound award went to Lijo Jose Pellishery's film ‘Jallikattu’, which revolutionised Malayalam cinema and was formally nominated for India's Oscar submission. The focus of the researcher in this study is on how sound affects how viewers perceive the plot and violence in the chosen film.

Impact of movie direction studies on Kurdish director

The distinctive success achieved by cinema, at the beginning of twentieth century, as a mass art with form and content, and the great power it has for recording and representing reality, on one hand, and the magical production power of images and subjects, most of it falls on the process of movie production, and the director appears as the first responsible of movies. When directing finds its path as a solid foundation in the world of movie making and cinema industry, then the outlook and idea of directors, as individuals or as groups, leads to up-rise of different studies of movie directing, where these studies constitute many principles and regulations of their own, which they build form and content of their films, and their influence will spread in the world of cinema extensively and become an important part of cinematic theories. Influences of these studies on movies and various cinematic productions of international directors can be seen and found, therefore in recent years we notice that Kurds were not exempt from these influences, and Kurdish movie directors were, directly or indirectly, making their movies under effects of these influences. These influences matched with the internal conditions of their people, their suffering, and their visions, according to message and content of the movies they include. On the other hand, due to the small budget required to produce a film, Kurdish filmmakers and directors need to make films with low cost and techniques and to be able to prove their imagination and ideas well.

Women in Contemporary Cinema: A Study on the Role of Lesbians in LGBTQ Films


 
 
 Women across the globe, along with various feminist outfits, have been struggling to achieve gender equality in social, professional, and personal life. Media is something where women have continuously raised their issues for not getting equal status with men. But, the media is also the place where they face discrimination like getting paid lower than their male counterparts. In Indian TV serials, the role is a little different. Women are given more preference over men, but their role is shown to be restricted to the kitchen and household only. In the world of cinema, actresses are paid lesser than actors.
 
 
 
 
 
 
 
 In many cases, their role is just to be the pillow riders of men. Somehow, the same is the case with LGBTQ characters in films. One can easily remember male LGBTQ characters like Abbas Ali of Bol Bachchan, but the role of a woman belonging to the LGBTQ community is either erotic or negligible. In this research paper, the researcher has tried to discover the prevailing gender inequality in LGBTQ films and the preference for male characters. The researcher has used content analysis to analyze the content of four mainstream Bollywood movies. The main aim of the research is to find out if female charact
 
 

Cinema in the World of OTT and the Ethics of Visual Representation in a Fictional World

Research has revealed that during the Corona Pandemic almost a thousand single screen theatres shut down for good in India. Meanwhile, a huge surge was seen in the viewership of OTT platforms. Producers who could not release their films in theatres sold their films to OTTs instead; and this trend has continued even in the post-pandemic environ. It is believed that this growth in the popularity of streaming platforms is facilitated by the bolder content that OTTs offer, raising several ethical dilemmas for both viewers and the government over censorship issues. A survey conducted by this researcher amongst more than 350 young students across Delhi, Haryana, Rajasthan and Uttar Pradesh revealed that 47.5% of the respondents (311) go only once a year to watch a film in a cinema hall, while 14.3% do not go to a film theatre at all. On the other hand, among the same set of respondents, 13.2% watch a film every day, 38.5% watch every week and 40.8% every month on an OTT platform. 51.3% of the youth who responded to the survey also revealed that the explicit scenes of nudity and violence in OTT content, does not bother them. There is however also the view shared with this researcher by Jyotsana Garg, an advisory panel member of the Central Board of Film Certification, who says that the present guidelines enacted to regulate OTTs in India are not adequate; as the foul language, nudity and violence in OTT content will negatively impact the youth, and there is a need for greater censorship. The moral compass is obviously divergent between the youth and policy makers. In conclusion, there are contrary ethical standards and many dilemmas surrounding visual representations in the fictional world of cinema and OTT, especially with OTTs showcasing bolder content and threatening the very survival of cinema halls.

Changing Times

Changing Times