Family Film

The article is an attempt to indicate what role the rating system introduced in 1968 plays in the American film industry. The first part provides an introduction to the history of American film censorship and presents the reasons why the Production Code was replaced by a system of restrictions related to the age of viewers. The second part of the text is analytical in nature. First, the distribution of individual rating categories in the 500 most popular films from 1970-2019 is checked, and it is revealed how the understanding of individual categories has changed and how the US film industry itself has changed. The second study, based on statistical data, shows the distribution of rating categories among all films distributed in the US in the years 2000-2019. This allows us to indicate the growth in the importance of the PG and PG-13 categories and also the increase in both the number and market share of films that are not subject to the system introduced by the MPA.

There is a long history of radical children’s film and television which subverts political orthodoxies and challenges aesthetic conventions, often beneath a cloak of innocence. However, these rich traditions of radical screen content for children have received remarkably little attention.

This volume redresses the balance. With contributions from leading authorities in the field and reference to both iconic and neglected media from around the world, this book sheds light on film and television for children that seeks to make a critical intervention in culture and society.

It also investigates the subversive uses of children’s media culture by individuals, communities of fandom, political groups, and creative practitioners. In so doing, it represents a major addition to existing scholarship in the field of children’s film and television.

Discussions of the New Economy generally point to media and communication as the dynamic industries that are at the eye of the free market hurricane. The creation of ideas and images, we are told, has overtaken the production of things. The culture of consumer choice that commercial media offer, it is said, provides the basis for free societies and human happiness. Time-Warner CEO Gerald Levin proclaimed on CNN inJanuary 2000 that "the global media is fast becoming the predominant business of the twenty-first century, and we're in a new economic age." In this article I would like to take a look at the Disney company, one of the three largest media firms in the world, and a fum often invoked as the type of company poised to dominate in the twenty-first century. From its evolution as a small Hollywood animation studio, Disney has expanded into a giant media conglomerate (see page 58). From a political-economic perspective we need to ask: How has Disney expanded beyond the commodification of children's culture to the commodification of culture more generally? How does it exemplify in the digital age what Harry Braverman in Labor and Mmwpoly Capital called "the logic of the universal market"? To begin to understand the Disney phenomenon, it is crucial to investigate Disney, the corporation. In other words, to understand Disney'sbrand offantasy;one must understand how it ismanufactured and marketed, bywhom and why.Despite the image of Disneyas a funloving, lighthearted and creative company, like any other corporation it is primarily geared to accumulation. Michael Eisner, Disney's CEO, explained in no uncertain tenns to Disney stockholders: Janet WLsko teaches the political economy of commwlicalion at the Uni\oersityof Oregon. This article is based on two chapters from Understanding Disney: The Manufacture of Fantasy, (Cambridge: Polity Press. 20(1).

This research paper is an attempt to conduct a textual analysis of portrayal of mythological themes in Indian Animation cinema created for children. With the growing popularity of animation as a storytelling medium in India, there has been quite an increase in the production of animated films that take inspiration from Indian mythological themes. This paper tries to examine how these films recreate and present traditional mythological narratives, characters and motifs in a manner understandable and appealing to young audiences. With the help of textual analysis, this research intends to understand the underlying themes, messages and cultural representations that construct the complex layers of animated cinematic medium for children. The paper also tries to understand how such portrayals impact children's understanding of mythology, culture and value system. The methodology involves the selection of a purposive sample of Indian animation films for children, in which a detailed examination of narratives, animation techniques, character development, and cultural nuances is done. By employing a textual analysis approach, this research attempts to deliver perceptions into the ways in which mythological themes are utilized and adapted within the context of contemporary Indian animation for children.

The purpose of this study is to explore the narrative strategies used to communicate the horror genre in the scripts of Laika studios and to investigate both the extent to which they contribute to imbuing the genre with a unique character in aesthetic and dramatic terms within mainstream animation cinema and the role they fulfil within the framework of their thematic approaches. To this end, a textual analysis of the studio's productions was conducted for Coraline (Henry Selick, 2009), ParaNorman (Chris Butler & Sam Fell, 2012), The Boxtrolls (Graham Annable & Anthony Stacchi, 2014) and Kubo and the Two Strings (Travis Knight, 2016). The analysis was based on the knowledge categories proposed by Jule Selbo's (2010) study on the creation of a mental space for the genre. The categories are divided into schematic, specific, and relevant knowledge. Finally, this study demonstrates how the tactics of the horror genre used in these films have enabled a different view of common themes in family-oriented Hollywood animation by communicating a stark image of the family and growing up. Although this image is not transgressive, it is certainly innovative by virtue of its thematic content, in which warnings against romanticising reality abound.

The animated film Nussa is a drama, adventure, and comedy released in October 2021. This study will identify the characteristics of the Nussa animated film genre as a drama, adventure, and compatible genre film. The research method used is descriptive qualitative. The theory used in this research is the Jane Stokes genre theory, which is divided into six categories: setting, location, iconography, narrative events, characters, and structure. The results of this study found pictures and dialogue scenes that depict pieces of film with the genre of drama, adventure, and combinations. These characteristics include the setting in the month of Ramadhan and locations commonly used in daily life, such as homes, rooms, schools, and playgrounds. In the iconography, most of the characters wear a Muslim dress style. Narrative events such as Nussa's adventures in participating in science competitions, starting from the arrival of Joni as Nussa's rival in the science competition, Nussa sad because his Abah did not come home until Nussa gave up his ambition to become a champion. All the characters in the Nussa film are protagonists and several supporting characters. The plot structure uses progressive linear, which tells the story of friendship and family. As a domestically produced animated film, Nussa won the 2021 Indonesian Film Festival (FFI) award in the best feature-length animated film category. Nussa's film provides many positive, inspirational, and educational lessons.

The purpose of this study is to explore the narrative strategies used to communicate the horror genre in the scripts of Laika studios and to investigate both the extent to which they contribute to imbuing the genre with a unique character in aesthetic and dramatic terms within mainstream animation cinema and the role they fulfil within the framework of their thematic approaches. To this end, a textual analysis of the studio's productions was conducted for Coraline (Henry Selick, 2009), ParaNorman (Chris Butler & Sam Fell, 2012), The Boxtrolls (Graham Annable & Anthony Stacchi, 2014) and Kubo and the Two Strings (Travis Knight, 2016). The analysis was based on the knowledge categories proposed by Jule Selbo's (2010) study on the creation of a mental space for the genre. The categories are divided into schematic, specific, and relevant knowledge. Finally, this study demonstrates how the tactics of the horror genre used in these films have enabled a different view of common themes in family-oriented Hollywood animation by communicating a stark image of the family and growing up. Although this image is not transgressive, it is certainly innovative by virtue of its thematic content, in which warnings against romanticising reality abound.

The article reconstructs the discourse of film criticism in Liberator-a radical African American magazine published between 1961 and 1971. Employing Pierre Bourdieu's theory of the cultural field, the author situates Liberator within the context of the 1960s, civil rights movement, and Black Arts movement, and analyses the magazine's role in film culture of the era, as well as the links between the magazine and important black filmmakers and film writers. Four aspects of Liberator's film criticism are explored: cultural memory of past representations, criticism of genre filmmaking, the need for cinematic realism, and the possibility of creating a distinct black cinema. The case study of the critic Clayton Riley's career presents an author who wanted to continue his radical criticism in the mainstream press (The New York Times). Liberator's legacy is framed as essential in understanding the tradition of African American film criticism. The author would like to thank Jan Luśnia for his research assistance and help in obtaining copies of Liberator from the Schomburg Center in New York City. The article was written exclusively as a response to Kwartalnik Filmowy's call for papers, but may be used as a part of the author's PhD dissertation, no sooner than in 2024.

The purpose of this study is to explore the narrative strategies used to communicate the horror genre in the scripts of Laika studios and to investigate both the extent to which they contribute to imbuing the genre with a unique character in aesthetic and dramatic terms within mainstream animation cinema and the role they fulfil within the framework of their thematic approaches. To this end, a textual analysis of the studio's productions was conducted for Coraline (Henry Selick, 2009), ParaNorman (Chris Butler & Sam Fell, 2012), The Boxtrolls (Graham Annable & Anthony Stacchi, 2014) and Kubo and the Two Strings (Travis Knight, 2016). The analysis was based on the knowledge categories proposed by Jule Selbo's (2010) study on the creation of a mental space for the genre. The categories are divided into schematic, specific, and relevant knowledge. Finally, this study demonstrates how the tactics of the horror genre used in these films have enabled a different view of common themes in family-oriented Hollywood animation by communicating a stark image of the family and growing up. Although this image is not transgressive, it is certainly innovative by virtue of its thematic content, in which warnings against romanticising reality abound.

This study investigated the causes of organizational injustice and how this influences employees’ job outcomes in public sector organizations in Pakistan. Two models were constructed and analyzed to fulfill the research goals. Data were obtained using a simple random sampling technique. Of the sample, 254 employees of public sector organizations filled out self-administered questionnaires. Multiple regression was applied to test direct proposed hypotheses. To evaluate the organizational injustice’s indirect effect on organizational performance due to employees’ job dissatisfaction, the mediation test of Preacher and Hayes (2004) was applied. The results showed that organizational injustice negatively impacts affective commitment and perceived organizational performance. Moreover, job dissatisfaction impacts the relationship in organizational injustice, perceived organizational performance and affective commitment.

The article reconstructs the discourse of film criticism in Liberator – a radical African American magazine published between 1961 and 1971. Employing Pierre Bourdieu’s theory of the cultural field, the author situates Liberator within the context of the 1960s, civil rights movement, and Black Arts movement, and analyses the magazine’s role in film culture of the era, as well as the links between the magazine and important black filmmakers and film writers. Four aspects of Liberator’s film criticism are explored: cultural memory of past representations, criticism of genre filmmaking, the need for cinematic realism, and the possibility of creating a distinct black cinema. The case study of the critic Clayton Riley’s career presents an author who wanted to continue his radical criticism in the mainstream press (The New York Times). Liberator’s legacy is framed as essential in understanding the tradition of African American film criticism.

This article examines The Beatles’ classic animated film, Yellow Submarine (dir. George Dunning, 1968) in terms of its appeal to multi-demographic audiences. While it has become de rigueur to argue in favour of Yellow Submarine as an artefact of the late-1960s counter-culture, its status as a children’s film has largely been overlooked. This article will argue that Yellow Submarine invites, and is able to sustain, a range of interpretations, particularly regarding its dual status as a quintessential film for children and family audiences, and as a much more adult-oriented production that captures the revolutionary spirit of the period. While Yellow Submarine embodies aspects of late-1960s British and North American culture, the author argues that the narrative transcends national cultural specificities and attempts to appeal to universal human desires and emotional states through its balancing of utopian consensus and cultural diversity, and through the galvanizing presence of The B...

India is widely known as the biggest producer of films, now globally known with the portmanteau "Bollywood." India also grabs the media attention for another reason-climate change. In 2015, The New York Times published an op-ed with a cartoon showing India as the proverbial "elephant" blocking the progress at the Paris Climate Change Conference. With the staggering number of films India produces and the steady increase in climate change-related disasters that India faces, the critics embraced the film Kadvi Hawa (literally, Dark Wind or Bitter Wind, 2017) as the "pioneering" film raising the critical issue of climate change. However, the issues raised in the movie were amply dealt with in several other Indian films in the last several decades. This article is a survey of Indian films that have shown or dealt with nature, environment, or climate starting from the 1940s till the present time.

The purpose of this study is to explore the narrative strategies used to communicate the horror genre in the scripts of Laika studios and to investigate both the extent to which they contribute to imbuing the genre with a unique character in aesthetic and dramatic terms within mainstream animation cinema and the role they fulfil within the framework of their thematic approaches. To this end, a textual analysis of the studio's productions was conducted for Coraline (Henry Selick, 2009), ParaNorman (Chris Butler & Sam Fell, 2012), The Boxtrolls (Graham Annable & Anthony Stacchi, 2014) and Kubo and the Two Strings (Travis Knight, 2016). The analysis was based on the knowledge categories proposed by Jule Selbo's (2010) study on the creation of a mental space for the genre. The categories are divided into schematic, specific, and relevant knowledge. Finally, this study demonstrates how the tactics of the horror genre used in these films have enabled a different view of common themes in family-oriented Hollywood animation by communicating a stark image of the family and growing up. Although this image is not transgressive, it is certainly innovative by virtue of its thematic content, in which warnings against romanticising reality abound.

Home Alone is one of the most well regarded movies of the 1990's. However, behind its thin veneer of comedy is a film which portrays violence and torture as comedic devices. Does the film hold up so well against modern attitudes towards violence and a place for it in family films

Attachment anxiety: parenting culture, adolescence and the family film in the US Many authors have noted a connection between notions of childhood and understandings of parenting; however, debates have focused only on adults and their behaviour. This article interrogates the child's position in contemporary parenting culture using the Hollywood family film to explore how the cultural constructions of childhood and parenting may influence one another. The article analyses the reception of the family film of the 1990s and its representations of families and children to note a cultural response to the previous decade's "discovery" of the pre-teen demographic. This response highlighted the incompatibility of young adolescence and attachment parenting, constructing a new childhood ideal which returned the child to assumptions of vulnerability.

While it was to be expected that 2013 Disney animated film Frozen would draw the attention of children from all over the world, one could hardly suspect that it would also spark interest and curiosity among adults in general and scholars in particular. Being a modern fairy tale which met huge success, this is thoroughly understandable, but the reason also lies in the film’s critique of traditional romance narrative concerning the role of girls and princesses. This paper aims specifically at deconstructing a very brief frame of the movie: the one where, as she is singing the song “Do you want to build a snowman”, Anna jumps to her couch and says “Hang in there Joan” to a portrait of Joan of Arc. I propose that this may be a reference to Elsa, who was accused of using her “supernatural” abilities to evil ends, and I argue that such a reference may have been instrumental to propagandize the role of the heroine who emerges independently of male characters and does not need male rescuers. In this sense, the life and deeds of Joan of Arc (and their modern feminist and postfeminist reinterpretations) may have been instrumental to rediscussing gender roles and the traditional concepts of masculinity and femininity in our days.

The purpose of this study is to explore the narrative strategies used to communicate the horror genre in the scripts of Laika studios and to investigate both the extent to which they contribute to imbuing the genre with a unique character in aesthetic and dramatic terms within mainstream animation cinema and the role they fulfil within the framework of their thematic approaches. To this end, a textual analysis of the studio's productions was conducted for Coraline (Henry Selick, 2009), ParaNorman (Chris Butler & Sam Fell, 2012), The Boxtrolls (Graham Annable & Anthony Stacchi, 2014) and Kubo and the Two Strings (Travis Knight, 2016). The analysis was based on the knowledge categories proposed by Jule Selbo's (2010) study on the creation of a mental space for the genre. The categories are divided into schematic, specific, and relevant knowledge. Finally, this study demonstrates how the tactics of the horror genre used in these films have enabled a different view of common themes in family-oriented Hollywood animation by communicating a stark image of the family and growing up. Although this image is not transgressive, it is certainly innovative by virtue of its thematic content, in which warnings against romanticising reality abound.

, apesar de ser mais conhecido por suas peças de teatro, teve uma extensa produção no campo audiovisual. Ele escreveu peças para a rádio inglesa BBC e a francesa ORTF, para a televisão pública inglesa BBC e a alemã SDR e roteirizou o filme cujo título é Film. Film foi escrito em 1963 e produzido em 1964 nos Estados Unidos, com direção de Alan Schneider, diretor de teatro e amigo pessoal de Beckett. O filme é um curta-metragem em preto e branco baseado no princípio filosófico de Berkeley Esse est percipi (Ser é ser percebido) e foi encomendado por Barnett Rosset do Evergreen Theatre para ser exibido juntamente com outros dois curtas que seriam escritos por Harold Pinter e Eugéne Ionesco. Beckett foi o único a finalizar seu filme, que foi exibido tanto nos Estados Unidos quanto na Europa. Film não teve uma boa acolhida na estréia, pois foi considerado obscuro e sem propósito, mas acabou sendo reconhecido principalmente por artistas e intelectuais e ganhou vários prêmios, como o Prêmio da Crítica do Festival de Veneza de 1965, o Prêmio Especial do Júri do Festival Internacional de Curtas de Tours, na França (1966) e o Prêmio Especial do Festival de Oberhausen, na Alemanha (1966). Alan Schneider define o filme da seguinte maneira: "É um filme sobre o olho que 1 Trabalho apresentado no Núcleo de Comunicação Audiovisual, XXVI Congresso Anual em Ciência da Comunicação, Belo Horizonte/MG, 02 a 06 de setembro de 2003. Este trabalho procura analisar Film a partir de seus elementos estéticos constituintes e levantar discussões em torno de sua autoria e do uso do tema da percepção, que é inerente ao cinema e ao olhar do espectador. Elementos estéticos Beckett 2 nunca tinha escrito roteiros de cinema, assim como Alan Schneider nunca tinha dirigido um filme. Em Film a questão da autoria se coloca de uma forma diferente. Em geral, principalmente na produção comercial, o autor não interfere na produção, sendo que o diretor acaba recebendo mais importância nos créditos do filme. Porém, Beckett participou ativamente das filmagens e Schneider afirma que sua intenção era fazer com que a visão criativa e estética de Beckett fosse traduzida do papel para o meio audiovisual. Para Schneider, numa época em que a Nouvelle Vague estava começando a dar seus frutos, não foi com surpresa que o autor Samuel Beckett transformou-se no diretor real de Film. Schneider (1994-5:33-5) conta que a escolha do ator protagonista e os primeiros dias de filmagem foram um pesadelo, pois eles não tinham nenhuma experiência e ainda decidiram começar a filmagem com as primeiras cenas, que eram externas e tinham vários figurantes. Os atores cotados para o papel principal eram Charles Chaplin, Zero Mostel e Jack McGowran, ator irlandês que já tinha atuado em várias peças de Beckett, porém, nenhum deles estava disponível nas datas da filmagem. Beckett então sugeriu o nome de Buster Keaton, pois o filme teria uma atmosfera cômica e irreal, que de uma certa forma remeteria ao cinema mudo. Alan Schneider contactou Buster Keaton, que após ler o roteiro não via como ele poderia durar mais do que quatro minutos e até sugeriu algumas alterações para que ficasse mais cômico. Schneider explicou-lhe que Beckett não aceitava nenhuma mudança em seus roteiros e, como Buster Keaton precisava de dinheiro, ele acabou aceitando fazer o filme sem entender do que se tratava. Conforme salienta Bignell (1999:39), a escolha de Keaton remete às comédias de vaudeville e slapstick do cinema mudo, porém, em termos de convenções cinematográficas 2 Beckett escreveu uma carta para Eisenstein em 1936 pedindo para ser admitido na Moscow State School of Cinematography mas nunca recebeu resposta. Acredita-se que foi por causa da epidemia de varíola que assolou a Rússia naquele ano e também porque o regime comunista já estava se tornando mais fechado e questionando o próprio trabalho do diretor.

The Further Adventures of Walt's Frozen Head is a feature comedy written, directed, and produced by Benjamin Lancaster. It is a part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. This film hopes to engage the popular urban legend and mythologies surrounding Walt Disney and the Disney company, and uses the story of a father letting go of his daughter to contradict the central messages of the Disney Company, i.e. believe in your dreams, and they will come true. A film of this subject matter requires the mircobudget approach due to the guerilla style shooting and the dismal prospect of financial returns. This thesis is a record of the film, from inception to completion with the plans for distribution.

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Achieving the pleasures of successful work place is an art of coping with stress. Job stress is a very substantial issue at work place in this new era of competence. So this research is significantly emphasized on causes and effects of job stress and analyze its impact upon job satisfaction. This study also identifies the root causes of job stress

Popular culture plays an important role in promoting socio-cultural harmony. It allows heterogeneous sections of people to identify collectively by serving as an inclusionary role in society as it unites the masses on ideals of acceptable forms of behaviour. Change that is promoted by the people through popular culture is determined by the interactions between people in their everyday activities like dressing style, use of slang, greeting rituals and foods. Socio-cultural dynamics are influenced to a large extent by means of popular culture. By using the medium of movies, we can achieve success in bridging the gaps in societies. Aspects of popular culture make information more relatable to multiple audiences, evolve with changes in how information is disseminated, and bring more people to the discussion (Street, Inthorn, and Scott, 2015). This article is a study to explore inclusiveness through the depiction of early childhood disabilities through Bollywood movies.

Steven Spielberg has been the subject of several serious biographies, such as Citizen Spielberg by Lester D. Friedman, and his films have been analysed, criticised, lauded and condemned in numerous articles and books, notably Warren Buckland's Directed by Steven Spielberg. And yet the witty immediacy of the subtitle of this book of essays admits a realistic trepidation and, to some extent, a critical shortfall. Spielberg the Shark versus the boat of theory, philosophy and critical interpretation is a galling proposition. One simple reason is the quantity and range of his output. Beginning with his first feature, the made for television Duel (1971) to his most recent episode in the Indiana Jones saga, Indiana Jones and the Kingdom of the Crystal Skull (2008), Spielberg has created movies which often attain a definitive status in their chosen genres. How many Revenge of Nature films can you name after Jaws (1975) and The Birds (Alfred Hitchcock, 1963)? Saving Private Ryan (1998) (along with Terrence Malick's The Thin Red Line [1998]) reintroduced the combat experience of the Second World War as a cinematic topic after it had lain dormant for at least a decade. Schindler's List (1993) likewise and more controversially re-established the Holocaust in the popular imagination. Science Fiction was systematically revitalised by pictures such as

This research is aimed at describing the empowerment of children in Edith Nesbit’s The Railway Children. The problems formulated in the research will be answered in the descriptions consisting of thoughts, actions, and feelings of the main characters in the novel and presenting other characters’ comments dedicated to the main characters. The main source of the research data was Edith Nesbit’s The Railway Children. It is considered as a children’s literature. The focus of the research was events in the novel which showing the empowerment of the main characters. The data consist of thoughts, actions, and feelings of the main characters and presenting other characters’ admirable comments dedicated to the main characters. The data were analyzed inductively by using qualitative content analysis. The instrument of the research was the researcher himself. To get trustworthiness of the data, the researcher used four criteria, namely: credibility, transferability, dependability, and confirma...

Achieving the pleasures of successful work place is an art of coping with stress. Job stress is a very substantial issue at work place in this new era of competence. So this research is significantly emphasized on causes and effects of job stress and analyze its impact upon job satisfaction. This study also identifies the root causes of job stress

Achieving the pleasures of successful work place is an art of coping with stress. Job stress is a very substantial issue at work place in this new era of competence. So this research is significantly emphasized on causes and effects of job stress and analyze its impact upon job satisfaction. This study also identifies the root causes of job stress

This paper seeks to examine Elf 's ideas about childhood vis-à-vis sexuality, 'man-children', and a larger 2000s discourse concerning what is 'appropriate' behavior for children. Starting with a discussion of the reception of the film and a problematization of a stable definition of childhood, the paper goes on to characterize Elf as offering genuinely radical theses in the world of 'man-child' cinema. Drawing a corollary to 1996's Jack, Elf ‘s cavalier view on adult-child sexual relations is explicated. In addition, parents’ anxieties about the economic success of their children are examined in the context of Elf's positive depiction of adult children moving back home.

Achieving the pleasures of successful work place is an art of coping with stress. Job stress is a very substantial issue at work place in this new era of competence. So this research is significantly emphasized on causes and effects of job stress and analyze its impact upon job satisfaction. This study also identifies the root causes of job stress

The Indian Cinema has unveiled significantly in the recent years, by not restricting itself to just being a source of mere entertainment, but, by experimenting to stride towards showcasing social and responsible cinema” thereby having a stronger impact on the masses. Slowly but steadily the film fraternity is vouching on social issues and is ready to take the ordeal to create awareness amongst the audience. However, a major chunk of the movie makers still follow the traditional movie making formula which may have adverse bearings on the audiences. The research paper aims to cover the holistic effects of Indian cinema on movie buffs through a discussion and box office success of certain movies belonging to realistic cinema. The objective of the paper is to applaud the social initiatives taken by the cinema highlighting the success of the ever evolving showbiz industry. The study showcases that the success of this genre amongst cinema-goers and encourages the budding young film makers...

Cinema and society are mutually reflective, influence each other in both constructively as well as precarious manner. While the practices of society pilots the ideas of filmmaking, the society also mirrors the values of its movies in various ways. The concerns of physically disabled (differently abled) group of the society has also attracted the filmmakers throughout the world including many from Indian movie industry a.k.a. "Bollywood". Many mainstream Bollywood movies have depicted the experiences of differently-abled people either as a part of the plot or as the main subject of the story while exploring varied ways of fascination with the topic. This paper is an attempt to shed light on how Bollywood mainstream cinema incorporates the idea of disability in their movies, and what is the level of sensitivity when it deals with issues of disability? Whether the idea of disability has been romanticized or patronized in Bollywood movies? Whether B'town uses the idea of disability just to garner commercial success or to communicate about the concerns of a disability type? Quality content analysis of Bollywood feature films dealing with some physical disability has been done to fulfil the objectives of the paper.

The study of popular culture has deservedly gained predominance in the domain of cultural studies. There is a snowballing recognition of the force that popular culture exerts through popular literature, cinema, and social media on a majority of people around the world, their day-to-day lives, opinions, and decision making processes, while also being an indicator of the same. Like all cultural forces, popular culture is dynamic and forever evolving. This change can often be recorded in the change in popular art forms like cinema and literature. In the domain of popular Hindi cinema, such a change can be noticed in the change in the composition of the ‘blockbuster’ film in the 21 century. For a film to be qualified as a ‘blockbuster’, the conditions of being ‘popular’ and ‘financially successful’ have to be met. The blockbuster film in Indian cinema has been discussed at length by academicians as a chiefly reductive and formulaic film concoction, often being specifically attributed to...

, apesar de ser mais conhecido por suas peças de teatro, teve uma extensa produção no campo audiovisual. Ele escreveu peças para a rádio inglesa BBC e a francesa ORTF, para a televisão pública inglesa BBC e a alemã SDR e roteirizou o filme cujo título é Film. Film foi escrito em 1963 e produzido em 1964 nos Estados Unidos, com direção de Alan Schneider, diretor de teatro e amigo pessoal de Beckett. O filme é um curta-metragem em preto e branco baseado no princípio filosófico de Berkeley Esse est percipi (Ser é ser percebido) e foi encomendado por Barnett Rosset do Evergreen Theatre para ser exibido juntamente com outros dois curtas que seriam escritos por Harold Pinter e Eugéne Ionesco. Beckett foi o único a finalizar seu filme, que foi exibido tanto nos Estados Unidos quanto na Europa. Film não teve uma boa acolhida na estréia, pois foi considerado obscuro e sem propósito, mas acabou sendo reconhecido principalmente por artistas e intelectuais e ganhou vários prêmios, como o Prêmio da Crítica do Festival de Veneza de 1965, o Prêmio Especial do Júri do Festival Internacional de Curtas de Tours, na França (1966) e o Prêmio Especial do Festival de Oberhausen, na Alemanha (1966). Alan Schneider define o filme da seguinte maneira: "É um filme sobre o olho que 1 Trabalho apresentado no Núcleo de Comunicação Audiovisual, XXVI Congresso Anual em Ciência da Comunicação, Belo Horizonte/MG, 02 a 06 de setembro de 2003. Este trabalho procura analisar Film a partir de seus elementos estéticos constituintes e levantar discussões em torno de sua autoria e do uso do tema da percepção, que é inerente ao cinema e ao olhar do espectador. Elementos estéticos Beckett 2 nunca tinha escrito roteiros de cinema, assim como Alan Schneider nunca tinha dirigido um filme. Em Film a questão da autoria se coloca de uma forma diferente. Em geral, principalmente na produção comercial, o autor não interfere na produção, sendo que o diretor acaba recebendo mais importância nos créditos do filme. Porém, Beckett participou ativamente das filmagens e Schneider afirma que sua intenção era fazer com que a visão criativa e estética de Beckett fosse traduzida do papel para o meio audiovisual. Para Schneider, numa época em que a Nouvelle Vague estava começando a dar seus frutos, não foi com surpresa que o autor Samuel Beckett transformou-se no diretor real de Film. Schneider (1994-5:33-5) conta que a escolha do ator protagonista e os primeiros dias de filmagem foram um pesadelo, pois eles não tinham nenhuma experiência e ainda decidiram começar a filmagem com as primeiras cenas, que eram externas e tinham vários figurantes. Os atores cotados para o papel principal eram Charles Chaplin, Zero Mostel e Jack McGowran, ator irlandês que já tinha atuado em várias peças de Beckett, porém, nenhum deles estava disponível nas datas da filmagem. Beckett então sugeriu o nome de Buster Keaton, pois o filme teria uma atmosfera cômica e irreal, que de uma certa forma remeteria ao cinema mudo. Alan Schneider contactou Buster Keaton, que após ler o roteiro não via como ele poderia durar mais do que quatro minutos e até sugeriu algumas alterações para que ficasse mais cômico. Schneider explicou-lhe que Beckett não aceitava nenhuma mudança em seus roteiros e, como Buster Keaton precisava de dinheiro, ele acabou aceitando fazer o filme sem entender do que se tratava. Conforme salienta Bignell (1999:39), a escolha de Keaton remete às comédias de vaudeville e slapstick do cinema mudo, porém, em termos de convenções cinematográficas 2 Beckett escreveu uma carta para Eisenstein em 1936 pedindo para ser admitido na Moscow State School of Cinematography mas nunca recebeu resposta. Acredita-se que foi por causa da epidemia de varíola que assolou a Rússia naquele ano e também porque o regime comunista já estava se tornando mais fechado e questionando o próprio trabalho do diretor.

This thesis investigates the establishment of the apparatus of seeing as an aesthetic experience within found footage horror movies, from their cinematographic materiality. A discussion about the way as these movies circulate in horror genre is made through crossing film, technology and Communication theories. The apparatus of seeing conception is thought, especially, from authors such as Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser and Philippe Dubois. The apparatus of seeing is, therefore, thought as a behavior, both visual and regarding the usage of technological artifact, that appears within the movies and in the way how this seeing from inside the film can affect the spectator habit of viewing. This is not about the representation of technology, but its strategy and its discourses to propose sensitive appeal in the public. The research problem is: How the apparatus of seeing is composed in found footage horror movies an...

Por mais que não existam muitas pesquisas brasileiras na área, as lendas urbanas, as creepypastas e, mais especificamente, a relação dessas narrativas com o público infantil pode contribuir para pensarmos vários aspectos das narrativas de terror infanto-juvenis. Ao analisarmos os desdobramentos de lendas urbanas no ambiente virtual e a maneira com que o terror é moldado pelo público infantil, podemos evidenciar aspectos interessantes relacionados a reapropriação e transformação do terror.

Cinema and society are mutually reflective, influence each other in both constructively as well as precarious manner. While the practices of society pilots the ideas of filmmaking, the society also mirrors the values of its movies in various ways. The concerns of physically disabled (differently abled) group of the society has also attracted the filmmakers throughout the world including many from Indian movie industry a.k.a. "Bollywood". Many mainstream Bollywood movies have depicted the experiences of differently-abled people either as a part of the plot or as the main subject of the story while exploring varied ways of fascination with the topic. This paper is an attempt to shed light on how Bollywood mainstream cinema incorporates the idea of disability in their movies, and what is the level of sensitivity when it deals with issues of disability? Whether the idea of disability has been romanticized or patronized in Bollywood movies? Whether B'town uses the idea of disability just to garner commercial success or to communicate about the concerns of a disability type? Quality content analysis of Bollywood feature films dealing with some physical disability has been done to fulfil the objectives of the paper.

This paper seeks to understand globalization as a way to interpret the shift in the portrayal of the Other as allegorized as aliens in Hindi science fiction cinema. After a brief discussion of what constitutes science fiction, the paper examines four science fiction films: Chand Par Chadayee (Sundaram 1967), Wahan Ke Log (Ansari 1967), Koi...Mil Gaya (Roshan 2003) and PK (Hirani 2014). A comparison is drawn between the films produced in the twentieth century and those produced in the twenty-first, noting the vilification of aliens in the former and the positive characterization in the latter. This shift in the portrayal of aliens is argued as a result of the liberalization of the Indian economy, the strengthening of the Indian military, and other factors that contribute to today’s globalized world.

Achieving the pleasures of successful work place is an art of coping with stress. Job stress is a very substantial issue at work place in this new era of competence. So this research is significantly emphasized on causes and effects of job stress and analyze its impact upon job satisfaction. This study also identifies the root causes of job stress

This essay is a study of the processes, histories, performers, as I analyse dances in Ray’s films - Jalsaghar (1958) and Goopy Gyne Bagha Byne (1969) while briefly touching upon Shatranj ke Khilari (1977) and discuss how creatively Ray imagined Bengal’s past with his use of classical and modern dance in his films.