Action Film

Eine Fotografie, die eine Frau mit Elefanten im Münchener Zoo abbildet wird zur Spur einer kolonialen Vergangenheit in der Gegenwart: Sinthujan Varatharajah, deren Eltern, als Tamilen von der senegalesischen Armee in Sri Lanka verfolgt, in den 80er Jahren nach Deutschland flohen, vergegenwärtigt in an alle orte, die hinter uns liegen (2022) ausgehend von diesem Foto der eigenen Mutter die koloniale Geschichte der Gattung Fotografie, der Zoos, der Elefanten, aber auch die persönliche Migrationsgeschichte der Mutter sowie die Geschichte aller Menschen, die, von Migration geprägt, nicht im Bild sind.
Der Text, der scharfe Gattungsgrenzen auflöst und zwischen Roman, Biografie, Memoir, Essay  und wissenschaftlicher Abhandlung oszilliert, weist dabei zwei unterschiedliche Dynamiken auf: Zum einen rekonstruiert er ausgehend von Alltagswahrnehmungen – etwa der Fotografie, dem Zoo – in historischer Perspektive eine globale Migrations- und Kolonialgeschichte, in der stets Differenz und Exotisierung im Zentrum stehen. Zum anderen werden im Text alternative Epistemologien sichtbar, die nicht Abstand und Unterschied, sondern Ähnlichkeiten und Näherelationen produzieren: So werden traditionelle Dichotomien von Kolonisierten und Kolonisatoren oder Migrant:in und Nicht-Migrant:in ebenso fraglich, wie auch der „Westen der einen der Osten der anderen ist“ oder die modernen Leitdifferenzen von Natur und Kultur, Mensch und Tier in ‚Figuren des Kontinuierlichen‘ (Descola) aufgelöst werden.
Ausgehend von aktuellen Ähnlichkeitstheorien (u.a. Bhatti & Kimmich 2015) fragt der Vortag nach solchen Ähnlichkeitsepistemologien und verfolgt diese zudem in der poetischen Form des Textes, etwa an Operationen der Enthierarchisierung, einer objektlosen Sprache sowie intertextuellen Annäherungen. Dabei geht es zum einen darum, zu zeigen, wie der Text eine scheinbar banale Fotografie mit einem planetaren Bezugsrahmen und globalen Migrationsdynamiken verflicht. Zum anderen soll im Vordergrund stehen, wie Varatharajah anhand der Textpersona einen postmigrantischen Bezug zur Welt entfaltet, der auf Kontinuität und Nähe beruht: etwa auf der Vergegenwärtigung der Erde, auf der man steht, und dem bewussten Erleben des Himmels und der Luft, die man atmet.

본 연구는 페미니즘적 관점에서 터키와 한국 문학에서 ‘어머니’ 정체성을 분석하며, 귤텐 아큰(Gülten Akın)과 고정희의 작품을 중심으로 탐구한다. 모성 개념은 생물학적 경계를 넘어 사회적, 문화적, 심리적 요소를 포함한 광범위한 의미를 지닌다. 가부장제 사회에서 어머니라는 존재는 가부장적 이데올로기의 협력자이자 동시에 희생자로서 이중적 정체성을 가지게 된다. 1980년대 한국 여성 문학 운동의 선구자인 고정희는 여성의 사회적 역할을 재정립하고 전통적 서사를 비판적으로 해석하고자 했다. 마찬가지로 터키 문학의 귤텐 아큰은 그녀의 시에서 희생, 억압, 그리고 여성의 힘을 강조하는 다층적인 모성의 의미를 탐구했다.
본 연구는 어머니라는 존재가 사회적 억압의 도구이면서도 동시에 여성들에게 힘을 제공하는 역할을 어떻게 수행하는지를 분석하는 것을 목표로 한다. 페미니즘 문학 비평 기법을 활용하여 귤텐 아큰과 고정희의 시 속에서 모성이 사회적 규범에 맞서 어떻게 여성 정체성을 재정립하는지를 연구한다. 연구 결과, 두 시인은 전통적인 모성 개념을 뛰어넘어 모성을 사회 정의와 성평등을 위한 역동적인 힘으로 재현하고 있음을 보여준다. 그들의 시는 모성을 단순히 헌신적인 역할로 한정하지 않고, 여성 해방 과정에서 저항과 힘의 원천으로 묘사하고 있다. 본 연구는 터키와 한국 문학에서 모성이 어떻게 재정의될 수 있는지를 탐구하며, 이를 통해 페미니즘 담론과 사회적 변화 사이의 연결고리로서 모성의 역할을 조명하고 여성의 다면적인 문학적 정체성을 인정하는 것의 중요성을 강조한다.

The art direction can be identified as one of the core yet under-researched aspects of telling a story in a cinematographic way. In addition to surface work of designing sets and costumes, the art direction defines the way audience takes cognizance of the proposed narrative, emotion, and ideology. The present paper critically examines the role of art direction in film as an exemplary cultural, aesthetic and psychological practice through which there is mediation between the script and screen. The study develops a theoretical framework drawing on feminist stance on visual pleasure by Laura Mulvey, psychoanalytic lens by Sigmund Freud and semiotic exploration by Roland Barthes as approaches to seeing the art direction as a language of symbols that go beyond miseen-scene. The paper explores the structure of narrative meaning in a range of visual and spatial aspects of selected films, namely Satyajit Ray, Pather Panchali (1955); Alfred Hitchcock, Psycho (1960); Peter Greenaway, The Pillow Book (1996); Kaushik Ganguly, Shabd (2013); Sam Mendes, 1917 (2019); Daniel Craig, No Time to Die (2021), and Mezbaur Rahman Sumon, Hawa (2022 Such movies across Bangladesh, India, England, and America show how the setting of the film conveys both screening instructions and aculturality. The results indicate that the art direction does not serve solely as ornamentation but as an element of the narrative that produces psychological depths and social commentaries and ideological backgrounds. Through the interpretation of visual metaphor and symbolic system, this paper emphasizes how art direction is used to engage the audience into a form of immersion that helps audience to interpret films and induce emotions and embeds film into larger cultural discourses. The discussion also highlights the necessity of further attention to art direction in multinational cinema, especially on the examples of such countries like Bangladesh where industrial, cultural and aesthetic problems collide. In summary, the paper postulates that the art direction is a key component in invoking the reality in cinema production-expressing the scripts used into worlds experienced on the screen, framing reception of the audience of the reality seen, and ensuring the perpetual vitality of the cinematic reality as entertainment and cultural texts.

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This study explores the polyphonic nature of autobiographical narratives using Bakhtinian dialogism to examine how personal, cultural, historical, and ideological voices interact to construct identity. By analyzing autobiographies, the research highlights the role of polyphony, heteroglossia, chronotopes, and dialogic relationships in shaping dynamic, and multi-voiced texts. A qualitative approach reveals how linguistic diversity and temporal-spatial settings enrich these narratives, showcasing identity as a dialogic construct. The findings underscore dialogism's value in understanding autobiographies as complex engagements with history, culture, and selfexpression, contributing to literary, cultural, and linguistic studies.

This is the postprint version of the introduction to my collection Fighting Stars: Stardom and Reception in Hong Kong Martial Arts Cinema. The official published version is available from Bloomsbury, https://www.bloomsbury.com/uk/fighting-stars-9781350365742/.

Calendar Course Description: This course examines the complex and conflictual relations between women and revolutionary struggles and focuses on a number of theoretical and empirical issues relevant to the Middle East and North Africa context. Land Acknowledgement: I acknowledge that I am an educator living and teaching on Indigenous land; land that for thousands of years has been the traditional land of the Huron-Wendat, the Seneca and, most recently, the Mississaugas of the Credit River. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and I am grateful to have the opportunity to teach and live on this land. I am committed to social justice for all peoples living on these lands. In this class we will make connections between past and present struggles for freedom, equality, and justice in the Middle East and Canada. It is my hope that alongside our exploration of the long history of resistance to colonialism, imperialism, state violence, and dispossession in the Middle East, we will learn more about the struggles for land, liberation, and justice "at home." Mural of Jina (Mahsa) Amini, Parliament & Gerrard East, Toronto Saskatoon's Riverside (2023) (Left): Honouring the children and survivors of Canada's residential school system (Right): Remembering Jina Amini and other victims of state violence in Iran

This study investigates the nostalgic aspects of Frederic Leighton's Arab Hall. Through analysis of the room and collection, the aim is to identify how the nostalgic feelings are visualized in the hall and what this might say about the nostalgic meaning. Arab Hall serves to function as beautiful surroundings for Leighton's significant collection of middle--eastern ornament, especially tile works from the 16 th and 17 th century. The hall is created as an Arabic scene, inspired by the Sicilian palace La Zisa, and Moorish architecture and is therefore not just a display case of exclusive and exotic souvenirs, but provides a context to the collection. This context creates an impression of an escapist dream, placed in London, but longing for the East. The theoretical approach to the nostalgic aspects of Arab Hall is founded in Susan Stewarts On longing, where the nostalgic longing is attached to objects, and these objects then portrays a fragment of a whole: a desired, but always imaginary place, created within. A part of the study is therefore also applied to Jean Baudrillard's ideas of simulacra and the hyperreal, a world that exists as a representation with no references. The study leads to a discussion of the nostalgic aspects in Arab Hall and concludes that imaginary qualities are essential in order to create nostalgic feelings in physical space. Arab Hall's many symbols and dreamy atmosphere may create an individual nostalgia, which looks for sincerity, beauty and spirituality, more than a nostalgic interpretation of the East as a geographical place.

This paper investigates the concept of digital identity and the various challenges students encounter in traditional classroom environments. It emphasizes the necessity of being aware of the hybrid chronotope, particularly because digital natives frequently lack consciousness regarding their transitions between virtual and physical spaces. This lack of awareness is especially pronounced during activities such as playing video games or engaging with social media platforms. Furthermore, the paper examines how digital natives experience education and cultural interactions within formal educational settings, shedding light on the unique dynamics at play.
From a dialogism perspective, the paper delineates the roles and positions that digital natives occupy both in classrooms and in virtual realities. It also delves into the concept of the "surplus of seeing," which refers to the overwhelming visual stimuli present in digital environments, alongside the intermingling of various voices and perspectives that characterize these spaces.
Regarding emotional intelligence, the paper discusses its critical role in shaping and regulating students' educational experiences. It highlights the collaborative responsibilities of families, teachers, and other educational professionals in understanding and being sensitive to the mindsets and cultural backgrounds of digital natives. This understanding is essential for fostering an inclusive and supportive learning environment that addresses the unique needs of these students.

While narratives of gender politics and female identity in Western culture have become
more dynamic with the passage of time, one of the most contentious spheres of discussion in mass media surrounds that of Ian Fleming’s ultimate fictional creation, James Bond. Female sexuality and gender politics as applied to the Bond universe has been robustly, and rightfully, scrutinised by the academic and casual spectator, alike, for at least 50 of the 70 years since his inception. Yet, one of the most enduring female characters in the cinematic canon has not yet been given this discerning treatment, in earnest. Moreover, the actress who portrayed her onscreen had not previously shared her reflections on the role, past or present, in the context of - what I will argue as - an atypical femme fatale. Fiona Volpe (known as Fiona Kelly in Fleming’s 1961 novel, Thunderball) was played by Italian actress Luciana Paluzzi-Solomon in Terence Young’s 1965 film adaptation. In November 2017, I had the opportunity to interview Mrs. Paluzzi-Solomon for a now-abandoned book concept. As one of the few actresses from the Eon Productions-era films still living, she was remarkably forthcoming regarding her professional and personal experiences on set. Without pride or prejudice, Mrs. Paluzzi-Solomon’s account proved not only to be illuminating in and of itself as an interview, but also served as a foundation to better understand the origins, development, and public reception of the first, true femme fatale in the Bond films. This paper will explore the character, Fiona Volpe, from the unique perspective of the woman who portrayed her, alongside critical observations of the character’s background, plot function, and legacy in bridging past to present within the cinematic world of 007.

In this article we undertake a reading of Steve McQueen’s Small
Axe, a collection of five films produced for the BBC and Amazon in 2020.
Focused on a series of events and figures central to the making of modern
Black British consciousness over the 1970s and 1980s, we suggest that Small Axe is preoccupied by a set of narrative questions concerning leadership, authority and individuation, combined with an aesthetics of suspension, the interval and the look. Speaking to the contemporary moment in Black Britain, as much as a sense of historical verisimilitude, we frame our reading of Small Axe through the rebellions which followed the police shooting to death of Mark Duggan on 4 August 2011.

영화는 사회를 비추고 사회는 영화를 비춘다. 영화가 시작된 지 130년을 바라보는 지금, 필름 영화, 디지털 영화, 그리고 OTT 체제까지, 영상 문화는 다양한 변화를 경험하였고 이러한 변화는 영화학의 수많은 담론을 생산하였다. 그럼에도 불구하고, 영화가 사회와 밀접한 예술 매체라는 것, 좀 더 많은 대중에게 다가가 있는 예술이라는 점, 그리고 사회를 바라보고 사회를 적극적으로 드러낸다는 점에는 변화가 없을 것이다. 상상과 가상의 세계를 이미지로 현전화 하는 것 또한 영화의 고유한 능력이겠으나 영화는 현실사회의 재현에 나태한 적이 없었다. 오히려 보이지 않는 현실 세계의 내부까지도 보여주려 고군분투 해 왔다는 표현이 적절할 것이다. 특히 최근 들어 경제 체제를 적극적으로 발화하는 다수의 영화들을 목격한다. 그러나 아직 경제를 다루는 영화들에 대한 영화학적 접근은 미진한 실정이다. 이에, 본 논문은 신자유주의의 등장과 함께 현 사회의 구조와 현상에 영향을 미친 ‘금융자본주의와 프레카리아트’, 이를 심중한 태도로 다루는 <화차>와 <미안해요, 리키>를 분석한다. 수사학의 힘으로 주체 아닌 주체가 된 현대 사회 프레카리아트들의 삶의 내부와 금융자본주의의 구조적 모순이 낳은 극심한 빈부격차, 그리고 부채문화를 장려하는 사회를 영화 서사와 미학을 통해 살펴본다. 이를 통해 본 논문은 이들 영화를 ‘사회문제영화’로 범주화하고, 사회와 영화(문화)의 관계성, 더 나아가 사회에 지대한 영향력을 갖는 문화매체로서의 영화의 역량을 확인한다.

Film reflects society and society reflects film. Over the course of 130 years of film history, we have witnessed the evolution of media culture from film to digital to OTT platforms, which have generated extensive discourse in film theory. Despite these significant changes, the essence of film remains unchanged: it is closely intertwined with society, serving as an art form readily accessible to the public. Film actively examines and meticulously represents society on screen, possessing a unique ability to embody imaginary and virtual worlds, while also striving to represent our real world and explore its hidden facets. Recently, there has been a surge in films exploring the economy. However, academic research on these films has been somewhat limited due to the inherent complexity of the subject matter. This paper aims to analyze “Helpless” and “Sorry, we Missed You” with grave concern. These films tackle the issue of ‘financial capitalism and the precariat’, exerting a significant influence on the structure and phenomena of contemporary society. This research delved into the lives of the precariat suffering from debt and rhetorics, which are cunning devices created by financial capitalism. Lastly, this paper proposes that these films can be categorized as “social problem films” that raise awareness about societal issues and spark changes in society. Through this study, this paper aims to demonstrate the profound connection between film(as a cultural medium) and society, thereby affirming the impact of film on society.

This paper explores the enduring trend in Hollywood cinema of portraying female Asian characters as hypersexualized figures, stripped of agency and reduced to stereotypes. From early classics like Shanghai Express to contemporary films like Lost in Translation, this paper examines the consistent absence of individuality, positioning Asian women as mere exotic symbols catering to white male fantasies. By focusing on Edward Said's concept of Orientalism, the paper emphasizes the intentional othering of the Orient, perpetuating a dichotomy between the colonized East and the colonizer West, reflecting the pervasive influence of Western-centric ideology. The paper critiques the long-going fetishism for Orientalism and exoticism within Hollywood and advocates for a reevaluation of cinematic storytelling to promote more nuanced and authentic representations of Asian women.

Andrew G. Vajna producer az akciófilm műfajában párját ritkító módon
a legnépszerűbb franchise-ok közül háromban is közreműködött. Az ő
producerkedése mellett vette kezdetét Sylvester Stallone sikertörténete
a Rambóval, Arnold Schwarzeneggeré a Terminátorral. S miközben
mindkettejükkel több akciófilmet is készített a nyolcvanas-kilencvenes
években (Vörös zsaru, Total Recall – Az emlékmás, Dredd bíró), ő adott
új lökést a Die Hard-szériának is, a Die Hard – Az élet mindig drágával.
Vajna a vele készült életút interjúban – egyebek mellett – visszaemlékezett a nyolcvanas évek műfajfordító eseményeire, s kitért a magyar akciófilm lehetőségeire is.

Az akciófilm nemcsak elválaszthatatlan a franchise-októl, de az akciófilm
műfajtörténeti keltezését mindjárt egy franchise jelöli ki: az akciófilm
ugyanis a James Bond-filmek 1962-es indulásától datálandó. A Dr.
No instant-sikere megalapozta a 007-es útját a hatvanas években, ráadásul a film és a franchise egy olyan receptet kínált a kibontakozó zsáner filmjeinek, amelyben nemcsak a műfaji stílusjegyekben követték James Bondot, de az évtizedek során a legsikeresebbek tartós franchise-ként maradtak frissek. Az akciófilm egyike a leglátványosabb, hovatovább
elsődlegesen a látványra összpontosító műfajoknak. Sikerüket ennek
megfelelően alapvetően a bennük rejlő nagyszabású akciók határozzák
meg, igaz, kiváltképp az első három évtizedben a műfajjal összeforró
sztárszínészeken is múlott egy-egy produkció sikeressége.

Jelen tanulmány a filmtörténet legsikeresebb akciófilm-franchise-ait veszi számba a kezdetektől napjainkig.

Az akciófilmet a közönség többsége szelepkioldó tömegfilmként,
papírvékonyságú történetet kétdimenziós karakterekkel elmesélő, a
maszkulinitást dicsőítő mozinak tekinti. Az akciófilm persze ennél
sokkal több, ugyanúgy jellemzi társadalmi reflexió, mint más, sokkal
mélyebbnek gondolt zsánereket.

Jelen tanulmány az akciófilm társadalomtörténetét tekinti át a kezdetektől napjainkig, benne többszáz példafilm említésével.

He decidido llamar a esta charla “Escribiendo un guion para el sonido” dada esta alocada teoria en la que he estado trabajando desde ya hace un tiempo. Se trata de una teoria radical en el mundo del cine: que el diseno sonoro no solo deberia suceder en la posproduccion de una pelicula o un video, sino que necesita suceder desde mucho antes, empezando desde el guion. Y si no sucede desde la escritura del guion, si deberia realizarse en la reescritura del mismo o, por lo menos, desde muy temprano en el proceso de produccion, cuando aun hay tiempo para que las ideas sonoras puedan !ltrarse y tener un efecto en las ideas creativas en todas las demas areas de produccion. Desafortunadamente, los realizadores de hoy en dia solo comienzan a pensar seriamente en el sonido durante la etapa a la que se conoce como posproduccion. Para ese entonces las decisiones ya han sido tomadas e implementadas en todas las otras areas y esto reduce y reduce el numero de posibilidades disponibles para que la...

The history of literary adaptation is as long as the history of cinema itself. Given the undeniable fact that literary classics guaranteed a large number of viewers, it is no surprise that the first filmmakers turned to literature to gain their materials for the screen. Since the development of the field called adaptation studies, the relation between cinema and literature has been analyzed through numerous approaches. One of the most recent theories which can shed light on the unstudied interaction between the two sides from new perspective is dialogism as developed by the Russian critic Mikhail Bakhtin. The present paper is set to perform a comparative analysis of Tennessee Williams’ A Streetcar Named Desire and its cinematic adaptation, Biganeh (Stranger), directed by Bahram Tavakoli. The research takes Bakhtin’s notions of unfinalizability and chronotope as two key constituents of dialogism to investigate changes the Iranian director has made in his version of the play. The stud...

Purpose-The purpose is to inspire a more Bakhtinian perspective of conversations in change communication. Inspiration is drawn from Bakhtin and argue that change management has, for too long, focused on monologic implementation of predetermined change, i.e. how to develop the "best plot". Change agents need to consider their anthropology are argued and ask themselves whether the people in their organizations are the objects of communication or subjects in communication. Furthermore, the argument about one's anthropology and one's espoused communication theory are intrinsically intertwined: how one communicates depends entirely on whether one views people as participating subjects in the process or as objects of the process. Design/methodology/approach-Consensus-as-monologue and consensus-as-dialogue are distinguished. Under the former, the notion of a single speaker is emphasized (expectations of response are low). But under the latter, consensus becomes saturated with the self as the other (polemic, but born between people). Findings-Change agents need to consider their anthropology are argued and ask themselves whether the people in their organizations are the objects of communication or subjects in communication. Originality/value-Seeing conversation among people as a never-ending process. A different perspective on participation-a perspective whereby one person's message joins with that of another and one person's meaning joins with that of another is offered.

Recent Korean division related box-office films in South Korea have moved away from mourning the loss of the other half and wishing for unification but instead pursuing coexisting with the opposite side with amicable and respectful understanding. This paper aimed to examine the representation of the inter-Korean relationship in recent Korean division films and its possible social implications. In this line, this research was designed to conduct a comparison between earlier films that came out in the late 90s and early 2000s and films that came out from 2010 and onward. As a way to compare the inter-Korean relationship in films, this research first conducted a qualitative comparison of how the relationship between South and North Korean characters are depicted and how it ends. This research used the method of looking at narrative structures of a plot-equilibrium, disequilibrium, and restoration of equilibrium-and the differences in masculinity between the two male leads of each film. Firstly, how the equilibrium was restored in the end and what this equilibrium looks like gave a clear distinction in the inter-Korean relationship depicted in the films examined in this research. Secondly, to examine the dynamic of the inter-Korean relationship more closely, this research examined the masculinity of the male leads because in action-packed films, like the ones that were chosen for this research, masculinity is often equated with narrative authority. It was revealed that in a span of a decade, division related films changed how they use the relationship between South and North protagonists. First, the friendship between the two functioned as a key element that brings back the equilibrium in the plot, and this new equilibrium may not be perfect, but it is not tragic either. Second, it is observed that the two male leads represent a divided Korea together and deliver the possibility of being mutually cooperative and equally invested in the peace of the two Koreas. Based on the findings, this research concludes that in recent Korean division box-office films, friendship and cooperation are the central modes of South and North Korean relationship. This research is meaningful because it adumbrates recent Korean division films' major shift from earlier films by hinging upon friendship and equal partnership to exemplify possible coexistence with North Korea instead of bloodline nationalism and ultimate unification as the only way to peace.

Artiklen argumenterer for at filmanalyse principielt relaterer sig til tre dimensioner: en sociokulturel, en æstetisk og en psykologisk receptionsmæssig - idet fokus dog her lægges på samspillet mellem det æstetiske og psykologiske. Der opstilles fire æstetiske prototyper; fordelt på henholdsvis fiktion og non. fiktion og på narrative og ikke-narrative former: den avantgardistiske prototype, den realistiske prototype, genrefortællingens prototype og den dokumentariske prototype. Derefter diskuteres generelt en række kognitive og emotionelle aspekter af filmreception, idet skema-begreber og tre grundlæggende receptionsæstetiske filmstrukturer defineres. De teoretiske og analytiske kategorier demonstreres sluttelig i tre forskellige fiktionsfilm af Peter Weir; Bille August og Lars von Trier.

In this round table discussion, carried out after the conference 'Film Theory and Research' and published in Cinéma 221 (1977), the participants (Christian Metz, Michel Fano, Jean Paul Simon, and Noël Simsolo) reflect on the success of the conference and discuss issues such as the problematic perception of film as an object of study, the role of psychoanalysis in the study of film, and the need to study film sound.

Annotation. It is not surprising that the study of Films that are adaptation of literary works has attracted both specialists of Cinema and Literature for a long time. In the last twenty years this topic has developed into a whole academic discipline of its own, especially in the Anglophone world, with a growing bibliography, magazines, manuals, anthologies. One of the thinkers most quoted and used in this growing field is Mikhail Bakhtin. We will sketch here the reasons for this central role, offer a bibliography of research based on his work and examine some of the main contributions to this bibliography and suggest why we think Bakhtinian contributions to the field were the beginning.

Annotation. M.M. Bakhtin didn't wrote about cinema but his works and those signed by his friends P.N. Medvedev and V.N. Voloshinov would be later read as a source of inspiration to think of cinema as language in a new way, both by studies dealing with cinema semiotics itself and also by those exploring the links between cinema and literature through the analysis of adaptations (as we will see in the last years the study of cinematic adaptations of literary works has developed into a whole discipline of its own and Bakhtin ideas were pivotal in helping scholars of this discipline to go beyond the dilemmas about "fidelity"). We will sketch here these two developments in two separate parts, although some of the scholars involved in both discussions might be the same. By examining this debates we will find new evidence of the potential of the Bakhtin circle's theories to understand not only literary texts but any cultural process.

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In the article, the Bakhtinian "chronotope" is utilized as a film analysis tool that can lead to conclusions regarding artistic representation/ interpretation of the contemporary historical context and therefore, regarding the conversation between "Art" and "History". "History" is defined by events, public practices, and political rhetoric related to the Greek economic crisis, and "Art" by Greek films produced from 2010 to 2017. The Bakhtinian "chronotopes" are combined with the analysis of the intra-film discourse and with other extra-filmic conditions of production (interviews of actors, opinions of critics, etc.) to demonstrate convergences/divergences and fluctuations in the cinematic representation of the debacle that became known in Greece as "The Crisis".

The contents of this site is subject to the French law on intellectual property and is the exclusive property of the publisher. The works on this site can be accessed and reproduced on paper or digital media, provided that they are strictly used for personal, scientific or educational purposes excluding any commercial exploitation. Reproduction must necessarily mention the editor, the journal name, the author and the document reference. Any other reproduction is strictly forbidden without permission of the publisher, except in cases provided by legislation

The system of romanization used in this thesis is the British Standards Institute Specification for the Romanization of Japanese, which is essentially the same as the widely-used 'Modified Hepburn System'. When the names of Japanese people, places, production companies, etc, are mentioned in the text they not italicised, and long vowels are not marked. Thus, it is Oshima rather than Oshima, Osaka rather than Osaka, and Shochiku rather than Shochiku. Familiar words such as yakuza, manga and ronin are treated in the same way (the only exception is that 'No' has been preferred to 'No' or 'Noh'). Titles of films and books, both Japanese and English, and less familiar Japanese words such as giri, ninjo and bosozoku, are italicised and long vowels are marked with macrons (a, 1, ii, e, 0). Where English titles include Japanese words long vowels are not marked. Thus the Japanese Zatoichi is given in English as Zatoichi, the Japanese Kikujiro no natsu in English becomes Kikujiro.

This presentation demonstrates the role migration to Lahore played in changing the city's film industry in the aftermath of the Partition of British India. It draws primarily from prior works by film scholars and historians, particularly Salma Siddique's 2022 book "Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940-1960" and Iftikhar Dadi's "Lahore Cinema: Between Realism and Fable." By examining the exodus of the city's pre-partition studio owners and workers and the subsequent arrival of primarily Muslim personnel from other film centres in South Asia to take over the "evacuee properties" left behind – with a specific focus on immigrants from Bombay (now Mumbai) – the text below will situate these developments within the larger pattern of contemporary communal politics and urbanisation to contextualise Lahore's transition from a regional centre of film production within a larger all-India circuit to one with a more national prerogative.

Chronotope is a word given to timespace by Mikhail Bakhtin in his book The Dialogic Imagination (1938). There he explains that in a novel chronotopes serve as those literary tools which show time and its visible effects on the spatial expanses (84). He adds that, chronotopes are characterised as literary temporal and spatial indicators that are artistically visible and are intrinsically fused as a whole (84). The present paper uses Bakhtin's Chronotopic study of intrinsic interconnectedness of timespace as a framework to assimilate causes of violence and discontent on the geographical spaces of Peshawar and Afghanistan in Nadeem Aslam's The Blindman's Garden (2013) during the Post 9/11 terrorist attack. These countries represent spatially colonized nations where the regulation of colonial time period had disempowered the indigenous people from their communal spatial experiences. Hitherto, the collision and intersection of polar social, political and cultural forces caused due to the impact of war time on the spatial boundaries of these countries leave the native people in an emptied sense of disorientation. Hence, Bakhtin's concept of chronotopic analysis grants permission to expose the violence and political conflicts within these colonized nations and people embossed through weft of time; which primarily have been infused into the works of Contemporary Pakistani Anglophone authors.

The history of literary adaptation is as long as the history of cinema itself. Given the undeniable fact that literary classics guaranteed a large number of viewers, it is no surprise that the first filmmakers turned to literature to gain their materials for the screen. Since the development of the field called adaptation studies, the relation between cinema and literature has been analyzed through numerous approaches. One of the most recent theories which can shed light on the unstudied interaction between the two sides from new perspective is dialogism as developed by the Russian critic Mikhail Bakhtin. The present paper is set to perform a comparative analysis of Tennessee Williams’ A Streetcar Named Desire and its cinematic adaptation, Biganeh (Stranger), directed by Bahram Tavakoli. The research takes Bakhtin’s notions of unfinalizability and chronotope as two key constituents of dialogism to investigate changes the Iranian director has made in his version of the play. The stud...

This article addresses the memories of 28 filmgoers between the ages of 64 and 95 in Laredo, Texas – a city
located on the border between the United States and Mexico. It explores respondents’ memories of US
and Mexican films, actors and local venues against the historical background of a fluid and complex border.
In particular, it examines the negotiation of cultural identities among residents with strong connections to
Mexican heritage but who are also influenced by the structural characteristics of the American political,
economic and educational systems.

The contents of this site is subject to the French law on intellectual property and is the exclusive property of the publisher. The works on this site can be accessed and reproduced on paper or digital media, provided that they are strictly used for personal, scientific or educational purposes excluding any commercial exploitation. Reproduction must necessarily mention the editor, the journal name, the author and the document reference. Any other reproduction is strictly forbidden without permission of the publisher, except in cases provided by legislation

The portrayal of women as prostitutes is common in Hong Kong cinema, and filmmakers have looked at sex work from various perspectives: as a social problem, as an index of women’s economic exploitation more generally, as a way to explore the relationship between economics and sexuality, as a window onto the world of sexual minorities and as erotica. Scriptwriter Elsa Chan, working in conjunction with director Herman Yau, has made two features about women in the Hong Kong sex industry—Whispers and Moans (性工作者十日談, 2007) and True Women for Sale(性工作者2 我不賣身·我賣子宮, 2008)—based on Chan’s anthropological studies of women in the sex industry in Hong Kong. Like their earlier collaboration From the Queen to the Chief Executive (等候董建華發落, 2001), these films look at the “sensational” (youth murders, prostitution) with an eye to understanding and, perhaps, remedying social injustice. In fact, the issue of “justice” and women’s role as exploited victims as well as potential agents of change link Elsa...

is the godfather of Korean action cinema and the director who internationalized Hong Kong action cinema when Five Fingers of Death (天下第一拳 C. Tian xia di yi quan, King Boxer, K. Chugŭm ŭi tasŏt sonkarak, 1972) became a $12 million global box office sensation. Chung delivered on his xia ethos promise to Hong Kong cinema mogul Sir Run Run Shaw to get the job done, no matter what. Despite Chung's stellar achievement, his rightful status within the annals of film history for both Korea and Hong Kong is compromised due to the practice of ethnonational film historiography. This project rescues Chung's historical preeminence by focusing on his transnational contributions to global film history.

Over for billedet FRéDéRIC LAMBERT: Det at stå over for et billede-som det hedder i titlen på en af Deres bøger [Devant l'image]-synes at vaere en stor oplevelse for Dem hver eneste gang. 1 De siger, at man er nødt til at give slip på sin viden over for billedet. Hvor afgørende er den uskyld eller fascination? GEORGES DIDI-HUBERMAN: Ja, over for et billede kan man blive fascineret og begejstret-eller grebet af skraek og raedsel. Men der kan ikke vaere tale om uskyld. Det forholder sig aldrig sådan, at man forlader eller vender tilbage til en uskyldstilstand. Der findes ikke noget billedets paradis, hverken før eller efter kundskaben. Og der går ikke noget uskyldigt blik forud for det blik, jeg kaster på billedet her og nu. Det, der sker, er lidt mere kompliceret og i virkeligheden mere dialektisk. For der går en viden forud for enhver tilgang til og opfattelse af billeder, men der sker noget spaendende, når vores forudgående viden, der normalt er forstenet i faste kategorier, krakelerer for en stundog den begynder netop i det øjeblik, hvor billedet kommer til syne. Når et billede kommer til syne, "griber" det os og tager noget fra os, hvis det er "staerkt" og virkningsfuldt nok. Det er hele vores sprog, der bliver-om ikke ligefrem undertrykt af billedets visuelle dimension, så-problematiseret, gjort målløst og suspenderet. Bagefter skal der taenkning og viden til-faktisk masser af viden-for at vedligeholde denne spørgende tilgang: for at vores sprog kan blive beriget med nye sammenstillinger, og vores taenkning med nye kategorier i mødet med det fremmedartede i billedet. Det at stå over for et billede handler altså på én gang om at drage sin viden i tvivl og tage den i brug. Man skal ikke vaere bange for ikke at vide noget mere (når billedet tager den sikre viden fra én) men heller ikke for at få mere at vide (når man skal forholde sig til selve det, at den sikre viden er gledet én af haende, og man skal begribe dette inden for en større sammenhaeng, der har med billedernes antropologiske, historiske eller politiske dimension at gøre).

John Crowe Ransom, Mikhail Bakhtin and Roland Barthes are all idiosyncratic and revolutionary scholars in terms of their ideas about the place of author and text. Thus, understanding their viewpoints and ideas concerning the importance of the author in the creation of textual meaning is highly significant to understand their influence over the literary world. Owing to the fact that all these scholars rejected some traditional views and introduced some new ideas to the thinking world, this study aims at reviewing key points of their ideas. In this respect, Ransom's New Criticism as a reaction to biographical and traditional historicism, Bakhtin's novel theory and Barthes' famous work 'The Death Of The Author' constitute the core discussion of this study.

Film scholar Lester Friedman notes, in the préfacé to his edited volume Unspeakable Images: Ethnicity and the American Cinéma, that "when majority group members evaluate the work of minority group members, the results are at best simplistic misreadings and at the worst cynical misappropriations" (Friedman:3). What Friedman is responding to it is the tendency of Western film scholars to approach ethnie world views from their own, presumably Euro-North American perspectives. Friedman wams that to view non-Westem cultures, from our own world view, is ethnocentric (Friedman, passim). I would extend Dr. Friedman's thesis to include ail non-Westem représentations of culture; what folklorists after Jansen, call the exoteric factor in folklore (Jansen:46). Hong Kong Chinese filmmaker, John Woo, has been "misread" and his work "misappropriated" by such exoteric factors. His films, specifically his gangster genre films, hâve been labeled by Western film critics as "homoerotic" (cf. Rubio and Sandell; passim-, Reynaud:23; Williams:48; and Brown:83). This is not a dérision of Woo's crime thrillers, per se, in so far as none of these critics hâve used "homoeroticism" in a négative fashion, that homoeroticism in film is a bad thing, but I do believe that to read Woo's gangster films as homoerotic misses the cultural-producers' point. Woo's films certainly deal with male-male relationships, but to see these relationships in terms of erotic desire "misreads" the Hong Kong Chinese understanding of the codes of masculine behaviour. Instead I posit an alternative reading, alternative, that is, to the hegemony of the Western cultural studies discourse; John Woo's action cinéma can be approached as experiential phenomena regarding the construction of a kind of traditional masculine behaviour among the Hong Kong Chinese. The phenomenology I propose here is David Hufford's "pedestrian phenomenology" "the study of ... appearances in human expérience, during which considérations of objective reality and of purely subjective response are

The history of literary adaptation is as long as the history of cinema itself. Given the undeniable fact that literary classics guaranteed a large number of viewers, it is no surprise that the first filmmakers turned to literature to gain their materials for the screen. Since the development of the field called adaptation studies, the relation between cinema and literature has been analyzed through numerous approaches. One of the most recent theories which can shed light on the unstudied interaction between the two sides from new perspective is dialogism as developed by the Russian