Media and Film Studies

The article is devoted to the analysis of two films directed by Alexei German "My friend Ivan Lapshin" and "Khrustalev, a car!" The author examines not only the aesthetics of the films and their significance for the history of cinematography, but also their social mission. During the time they were filmed, they were instrumental in overcoming the trauma of the "The Silence in Russian Culture”. Reviewing those films today, we see that they had a great influence on the further artistic comprehension of Soviet history. / Статья посвящена анализу двух фильмов режиссера Алексея Германа "Мой друг Иван Лапшин" и "Хрусталев, машину!". Автор рассматривает не только эстетику фильмов и их значение для истории киноискусства, но и их социальную миссию. В тот период, когда они были сняты, они сыграли важную роль в преодолении травм "молчащей культуры". Пересматривая эти фильмы сегодня, мы видим, что они оказали большое влияние на дальнейшее осмысление советской истории.

It can be thought that a major paradigm shift has occurred with the Covid-19 pandemic. In addition to education, health, transportation and cultural activities, which have been affected by this situation, radical changes have also occurred in the media area. When it comes to the digital media field, the biggest of these changes is seen in people's relationship with cinema. The findings show that many films and animations consumed in cinemas that have been closed for a long time have changed dynamics in which they are now delivered to the audience through another experience. The findings show that there has been a significant increase in the use of "Streaming platforms" as an existing technology. Production companies, who want to turn this situation to their advantage, have transferred their cinematic universes that creates a sense of belonging in the audience to streaming platforms, both as series, feature films and animations. The main problem of the article is to reveal this paradigm shift. As a method, graphics produced within statistical data will be used and thus a quantitative study will be achieved. The universe of the article will be established with the box office revenue rates of the last eight years obtained from the "Box Office Mojo" website, which is the most reliable source. The top 10 grossing films of each year are divided into three categories: conventional films, films with transmedia storytelling and animated films. Finally, the trends of the media in the 2020s will be explained.

Education IDHEC DUDLEY ANDREW The resurgence of the American cinema, of its art as well as of its strength, has been credited in part to film schools where George Lucas (U.S.C.), Martin Scorcese (N.Y.U.), Francis Ford Coppola (U.C.L.A.), Terence Malek (A.F.I.), and Paul Schr?der (U.C.L.A. and A.F.I.) received their training. This, despite earlier presumptions that the industry of Hollywood, built on apprenticeship, unions, and mass production, was out of the reach of even talented students. Film schools might serve certain functions, but they were not the way to Hollywood. Of course Americans had read about, and seen the results of, European film schools: Bo Widerberg in Sweden, Polonski and Skolimoski in Lodz, Forman and Passer in Prague. But in each of these in stances it was a question of a small state-run industry able to support a substantial state-run school. Only Italy with its Centro Sperimen taal and France with IDHEC provided possible models for America, since here the state helped form a small corps of trained film artists who then had to enter a large, competi

Хорошо известно, что в список прокатных аутсайдеров в СССР очень часто попадали не только слабые в профессиональном отношении фильмы, но высокохудожественные, сложные по художественному языку фильмы. В этой книге представлена своего рода избранная (и, разумеется, субъективная) коллекция коротких рецензий на советские фильмы высокого художественного уровня, которые, увы, остались за бортом списка фаворитов кинопроката.

La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de

ITA: Il presente contributo intende soffermarsi sulle tematiche comuni alla Madama Butterfly di Giacomo Puccini e ad Anora di Sean Baker, quali l’amore predatorio e il rifiuto, con l’obiettivo di mettere in luce come entrambe le opere raccontino, in maniera disincantata, le vicende di donne che soccombono dinanzi ad una relazione terminata sul nascere, poiché ciò che si aspettavano da essa ha preso il sopravvento sulla realtà dei fatti, molto spesso ben più cruda e brutale di quanto ci si possa figurare, a dimostrazione di come ogni relazione si consumi ormai in un effimero rapporto sessuale.

ENG: This essay intends to focus on the themes that are common to Giacomo Puccini’s opera Madama Butterfly and Sean Baker’s movie Anora, such as those of predatory love and rejection, in order to highlight how both these works tell, in a disenchanted way, the stories of women who succumb to a romance that ends at its very beginning, because what they expected from it has taken over the reality of facts, very often much more raw and brutal than one can even imagine, demonstrating how every relationship nowadays is usually consumed in the time of an ephemeral sexual intercourse.

Political names define the symbolic organisation of what is common and are therefore a potential site of contestation. It is with this field of possibility, and the role the moving image can play within it, that this dissertation is concerned. This thesis verifies that there is a transformative relation between the political name and the cinema. The cinema is an art with the capacity to intervene in the way we see and hear a name. On the other hand, a name operates politically from the moment it agitates a practice, in this case a certain cinema, into organising a better world. This research focuses on the audiovisual dynamism of the names ‘worker’, ‘factory’ and ‘people’ in contemporary cinemas. It is not the purpose of the argument to nostalgically maintain these old revolutionary names, rather to explore their efficacy as names-in-dispute, as names with which a present becomes something disputable. This thesis explores this dispute in the company of theorists and audiovisual arti...

In her 1991 essay “The Idea of a Home: A Kind of Space”, Mary Douglas defines ‘home’ as “always a localisable idea ... which starts by bringing some space under control.” (Douglas 289) However, in postcolonial nation states, the concept of home as a “space under control” - as a recognisable and stationary locus of ethnocultural and racial identity - is consistently disrupted and challenged as population displacement, labour flows and survival migrations across the globe increasingly lead to concomitant crises of identities, bodies and spaces. Additionally, new permutations of inequities and exploitation in globalised economies have further contributed to the volatility and instability within the configuration of ‘home’. In this incendiary context, the geopolitics of ‘home’ have become charged with historical, political and racial traumas, generating complex polarities of power and a pervasive culture of collective loss. This paper attempts to reimagine and rewrite the tenuous spatialities of ‘home’ in relation to themes of segregation, displacement and exile of ‘alien’ bodies in Neill Blomkamp’s satirical sci-fi film District 9 (2009). Situating my discourse against the historical backdrop of Apartheid South Africa and expanding the critical frameworks of postcolonial science fiction and related SF subgenres, this paper will concurrently examine spatial imaginaries of ‘home’ and ‘nonhome’ (Douglas) and explore politics of apartness and ‘unbelonging’, as we navigate the complex dialectics of trauma, loss and alienation in Blomkamp’s bizarre and indigenised SF cinematic universe.

This article examines the role of boy witnesses in screen representations of domestic and family violence. Australian cinema has frequently placed a speechless boy at a scene of men’s violence: he might bea figure of innocence against masculinities gone bad, or a proxy for the audience, simulating a point-of-view untroubled by contemporary debates around gender-based violence. This article argues that the figure of the boy who looks is invested with multiple competing meanings attached to masculinity, including idealisations of boyhood curiosity, celebrations of boys as figures of progress, and the racialisation of Australian boyhoods within the context of colonial violence and dispossession. Furthermore, by interrogating the trope of the boy who looks, this article considers the affordances and limitations of contemporary feminist approaches to violence in cinema, and argues for an understanding of domestic and family violence in cinema as inextricably linked to the ways that we think about masculinity, cultural identity, and youth.

The author focuses on a series of short films about road workers, created in 1974–1980 by different directors of the Georgia Film studio based on the scripts by Rezo Gabriadze. Despite the light comedic structure, each of the films in the cycle correlates with traditional art forms and is a kind of a parable about the important work of three friends who continue the work of their great ancestors in an already built-up world.
This comedy cycle turns to the aesthetic foundations of Georgian cinema, which allows drawing conclusions about transformations in cinema, the processes of irony over the established film traditions, and nostalgia for the national cultural heritage. There is no large-scale epic background in the cinematic reality; it is introduced by a thin visual-semantic layer, paying tribute to national pride and history with the winding road surface, hills, endless fields, and the temperament of the characters. In the narrative and visual form, the three road workers can be interpreted as a homage to the Coward, the Fool and the Pro — the famous characters of Leonid Gaidai. With their undoubted masculinity, the Georgian trio paradoxically corresponds not only with Gaidai’s characters; it also represents a family where a strict ‘mother’ energetically raises a fidgety ‘child’ under the stern and gloomy gaze of a ‘father’. The spatial design of the filmic reality is dominated by road; most of the troubles happen when the characters consciously or forcedly deviate from the asphalt road itself. Overcoming the boundaries of this extended field, the characters find themselves in a moderately hostile world, salvation from which lies in returning to their road ‘Eden’. / В центре внимания автора статьи — цикл короткометражных фильмов про дорожных рабочих, снятых в 1974–1980 годы разными режиссерами киностудии «Грузия-фильм» по сценариям Резо Габриадзе. Несмотря на «легкую» комедийную структуру, каждый из фильмов цикла соотносится с традиционными художественными формами, является своего рода притчей о важной работе трех друзей, продолжающих дело своих великих предков в уже довольно-таки застроенном мире.
Исследуемый комедийный цикл обращается к эстетическим основам грузинского кино, что позволяет делать выводы и о трансформациях в союзной кинематографии, процессах иронизирования над сложившимися кинотрадициями и ностальгии по национальному культурному наследию. Масштабного эпического фона в кинореальности нет, он вводится тонкой визуально-семантической прослойкой, отдает дань национальной гордости и истории — извилистым полотном дороги, холмами, бескрайними полями и темпераментом героев. Нарратив и визуальные образы трех дорожных работников можно интерпретировать как своего рода оммаж Трусу, Балбесу и Бывалому. Однако грузинская троица при несомненной мужественности своих характеров парадоксальным образом не только корреспондирует с прославленным героями Леонида Гайдая, но и представляет собой специфическую семью, в которой строгая «мать» энергично воспитывает нерадивого отпрыска под суровым и хмурым взглядом «отца». В пространственном решении фильмической реальности доминирует дорога. Большая часть неприятностей возникает у героев при их осознанных или вынужденных отклонениях непосредственно от асфальтового полотна. Преодолевая границы этого протяженного поля, герои оказываются в умеренно враждебном мире, спасение от которого — в возвращении в свой дорожный «Эдем».

Yvonne Völkl / Julia Obermayr / Elisabeth Hobisch (Eds.)
Pandemic Protagonists
Viral (Re)Actions in Pandemic and Corona Fictions

During the first mandatory lockdowns of the Covid-19 pandemic, citizens worldwide turned to »pandemic fictions« or started to produce their own »Corona Fictions« across different media. These accounts of (previously) experienced or imagined health crises feature a great variety of protagonists and their (re)actions in response to the exceptional circumstances. The contributors to this volume take a closer look at different pandemic protagonists in fictional narratives relating to the Covid-19 pandemic as well as in existing pandemic fictions. Thereby they provide new insights into pandemic narratives from a cultural, literary, and media studies perspective from antiquity to today.

Kapitel-Übersicht
Frontmatter
Seiten 1 - 4
Table of Contents
Seiten 5 - 6
Acknowledgements
Seiten 7 - 8
Pandemic Protagonists (Re)Claiming Agency: An Introduction
Seiten 9 - 22
Bloody Investigations. Scientists as Ambiguous Pandemic Protagonists in the Dystopian Streaming Series La Valla and La Révolution
Seiten 23 - 40
Corona Palimpsests: Pandemic Protagonists as Readers
Seiten 41 - 64
Hysterical Men and Reasoning Women? On Gender Roles and Agency in Corona Fictions
Seiten 65 - 86
La novela de la pandemia como una modalidad de la novela de la crisis. El caso de La madre del futbolista de Pablo García Casado
Seiten 87 - 98
Mediated Vulnerabilities: Transforming Virginia Woolf's Characters in Corona Fictions
Seiten 99 - 116
'¿Te importa?' Entre soledad y olvido: la representación de los ancianos en el teatro español durante la pandemia de COVID-19
Seiten 117 - 136
Immunity and Community: The Role of Immune Protagonists in Saramago's Ensaio sobre a Cegueira (1995) and Roth's Nemesis (2010)
Seiten 137 - 156
The Crowd as a Pandemic Character: Determinism, Entertainment and Transgression in Literature
Seiten 157 - 178
'C'était quelqu'un de toute façon' : les personnages humains et non humains dans le roman animaliste Les Métamorphoses de Camille Brunel
Seiten 179 - 198
The Role of Animals in Pandemic Narratives: Forewarning Disaster, Causing Outbreaks, Conferring Immunity
Seiten 199 - 222
Germs as Social Protagonists: (In)visible Enemies and the Fear of Epidemic Invasion in Classical Hollywood Cinema
Seiten 223 - 238
Human-Viral Hybrids as Challenge to the Outbreak Narrative and Neo-Liberal Biopolitics
Seiten 239 - 256
Protagonisti in cerca di una nuova agency: la pandemia di Covid-19 nella letteratura italiana
Seiten 257 - 276
Corona Fictions Agents: Cinematic Representations of Hopeful Pandemic Protagonists in Early Corona Fictions
Seiten 277 - 302
Authors
Seiten 303 - 308

Human beings are often confronted with difficult situations or predicaments that require dealing with so as to continue in life. If these situations are not controlled or solved, they may make life very difficult and unbearable at times leading to catastrophe and or death. This essay ‘Male and female predicament in Igbo society as illustrated in selected Igbo works’ examines predicament existing in Igbo society. It aims to ascertain what constitutes predicament and its implications in the Igbo society. The framework hinges on expository method of literary discourse to showcase predicaments abounding in  the  society  in  the  spheres  of  culture,  politics,  economics  and  in  the  social  perspective.  The  essay  concludes  that  both males and females are confronted with these predicaments which they may or may not have caused for one reason or the other  in  whatever  sphere.  It  is  advisable  to  think deeply  before  proffering  solutions  to  these  predicaments  when  we  are confronted with them to avoid making life mistakes and attracting severe consequences

Справочное издание В данном справочном издании приводятся статистические данные посещаемости советских полнометражных игровых фильмов, демонстрировавшихся в кинопрокате с 1950 по 1990 год. К сожалению, прокатные данные не по всем советским полнометражным игровым фильмам (а их было свыше семи тысяч) доступны (есть, к примеру, серьезные пробелы в прокатных данных 1920-х-1960-х годов). Поэтому в данном справочном издании приводятся сведения о количестве зрителей, просмотревших советские игровые фильмы (всего указаны данные посещаемости более чем по трём тысячам названий кинолент) за 12 месяцев демонстрации с 1950 по 1990 год. Данное справочное издание предназначено для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для круга читателей, которые интересуются киностатистикой и киносоциологией. Рецензенты: профессор М. Целых, профессор А. Левицкая.

is one of the most prominent African writers. He is regarded as the 'Father of African Literature' (Abrams, 2013). Though he has experimented with nearly all genres of literature: poetry, prose fiction, and essays, he is distinguished for prose writing, particularly the novel form. His novels include Things Fall Apart, Arrow of God, No Longer at Ease, A Man of the People and Anthills of the Savannah. Whereas Achebe has written many essays, including The Education of a British-Protected Child, The Trouble with Nigeria, Hopes and Impediments, Morning Yet on Creation Day and Home and Exile, There Was a Country stands out for its unique blend of history, memory, poetry and first-hand observation. It is considered a new genre of literature as it is a rare amalgam of multiple formal techniques. This autobiographical essay can be critiqued from varied theoretical standpoints. For this study, we undertake a Marxist literary reading. We argue that terror-a climate or a state of intense and overwhelming fear, violence and, in some instances, threat of violence-is used to facilitate political dominance. 2. Representation of Terror as an Instrument of Political Hegemony in Achebe's There Was a Country Achebe's There Was a Country lends itself well to Marxist literary criticism. Many modern theories of literature spring from Marxism and critical overlaps are bound to occur. The following Marxist concepts underpin this study: commoditisation, economic determinism, alienation, separation, and ideology. The first prime minister of Nigeria is portrayed in this autobiographical work as a product of an ethnicised socio-political and economic ideology. Sir Ahmadu Bello, the Sardauna of Sokoto and the founder of the Northern People's Congress (NPC) inspires economic fear to rally his Northern counterparts behind his political aspirations. To slay the two political hegemons in the Northern part of Nigeria-Azizikwe and Awololo, who led the National Council of Nigerian Citizens (NCNC) and Action Group, respectively-and galvanise the support of Southerners, Bello weaponises fear. Fearmongering is, in this regard, instrumentalised to consolidate political support. While his superstructural strategy does not pass for intimidation or coercion, the Northerners are compelled to vote for him to protect what he ideologically presents as their 'hegemonic interests.' Besides

Penyelenggaraan pendidikan menengah merupakan suatu proses yang berlangsung selama 3 tahun dan dalam rangka melaksanakan program pendidikan untuk mencapai tujuan pendidikan nasional. Demi mencapai hasil belajar yang memuaskan tersebut dengan system pendidikan  yang semakin maju dan didukung juga perkembangan teknologi multimedia,khusus nya buku digital pembelajaran interaktif matematika. Tren buku digital pun segera melanda Indonesia dalam lima hingga sepuluh tahun mendatang. Tren ini memberikan makna baru atas definisi buku. Buku bukan hanya hasil cetakan saja, namun dapat pula berbentuk digital yang dapat dibaca bahkan didengar. Tren ini juga akan mengubah sistem perbukuan yang ada. Tujuan penelitian ini untuk mengetahui pengaruh hasil penjualan buku pembelajaran interaktif matematika  kelas VII terbitan Bumi Aksara terhadap Hasil Belajar Matematika. Metodologi dalam penelitian ini yang digunakan adalah survei dan eksperimen dengan media analisis teatment by level. Jenis pengujian...

Справочное издание В данном справочном издании приводятся статистические данные посещаемости польских полнометражных игровых фильмов, демонстрировавшихся в советском кинопрокате в 1960-х-1980-годах. К сожалению, прокатные данные не по всем польским полнометражным игровым фильмам доступны. Данное справочное издание предназначено для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для круга читателей, которые интересуются киностатистикой и киносоциологией. Рецензенты: профессор М. Целых, профессор А. Левицкая.

Per una semiotica grinchiana del Natale cinematografico 1 Bruno SURACE, Università di Torino "È Natale!" (Qualsiasi bambino, scoprendo l'acqua calda, in qualsiasi film natalizio, la mattina di Natale) Da Babbo Natale… Come più o meno tutti sanno, senza scomodare apparati troppo complessi, Natale è discorsivamente due cose. Da un lato una festività cristiana (la più importante, assieme alla Pasqua); dall'altro una festività non cristiana. Forse l'aspetto più straordinario di questa festività è in effetti il riuscire a tenere armonicamente insieme -cioè velando 1 Questo articolo è parte di FACETS -Face Aesthetics in Contemporary E-Technological Societies, progetto finanziato da ERC (European Research Council) nell'ambito del programma Horizon 2020 (grant agreement: 819649).

Street Fighter: The Legend of Chun Li movie revolves around the journey of Chun Li, a Chinese female fighter of the Street Fighter series, and her eventual fight against Bison. This study focuses on the portrayal of Chun Li as a representative of Asian women in an American movie, and compares it to her original portrayal in the game. There are two big groups of representation of Asian women in the Western media: the submissive ‘lotus blossom baby’ and the aggressive ‘dragon lady.’ As a form of content analysis, this study analyzes both textual and visual elements of the Street Fighter: The Legend of Chun Li movie and Street Fighter game series which represent the portrayal of an Asian woman character named Chun Li. Result shows that Chun Li character in the movie leans more towards the ‘dragon lady’ group with her strong and seductive characteristics, while her game self exhibits a broader range of qualities

Joel Babatunde Babalola hails from the royal family of Amilede, Idasa Compound, Ipoti-Ekiti.  The praise poetry or oriki has been written by Professor Babalola to capture the essence of Omo Amilede, celebrating their Wisdom, impact, Strength and Endearing-daring lifestyles (W-I-S-E) on the community. All genuine children of Amilede are expected to embody the Deoxyribonucleic acid (DNA) that sends the genetic information for those four traits (W-I-S-E) required for their development and functioning as royal people.

Cameras frame everything, from fancy food and group photos to political protest and high art. 
Whether video or photograph, drones or selfie sticks, such images color your surroundings with the technological perspectives of our time. Sometimes, images illustrate personal and political experiences—of depopulation, the rural, the utopian, globalization, capitalism, militarization, objectification and so on. In other words, images often have political implications.

This course thus investigates the power of images to shape the world alongside our ability to harness these images in innovative ways. We will begin by examining the concept of “visual politics” as a toolbox capable of articulating questions of representation, spectatorship, and consciousness, but also participation, identity and a range of contemporary debates that go
beyond mere questions about art. For example, do photography and videos exist as a form of protest? Is a user interface a vehicle for empowerment? Why and how do governments censor films? Is the visual distinct from the audible? These questions help to bridge the humanities with the social sciences and provide several interdisciplinary avenues for “visual research” in Global Studies. Drawing upon examples from a variety of times and places, each of you will participate in a VISUAL POLITICS PROJECT that attempts to reflect on, and grapple with, the themes of the course.

A l’occasion de son 10e anniversaire, la revue "Genre en séries: cinéma, télévision, médias" organise à Paris en novembre 2025 un colloque sur "#MeToo français dans le cinéma et les médias. Contribution à la fabrique d’un objet de recherche universitaire".

Nous souhaitons, comme d’autres disciplines avant nous, investir ce terrain en lien avec les sociétés savantes représentatives des études de cinéma et audiovisuel, mais aussi les collectifs et associations professionnelles et de la société civile.

Propositions en français ou en anglais à adresser d’ici au 10 décembre 2024 à genreenseries@gmail.com.

-

To mark its 10th anniversary, the "Genre en séries: cinéma, télévision, médias" journal is organizing a conference in Paris in November 2025 on "French #MeToo in cinema and the media. Establishing an academic research subject".

Like other disciplines before us, we want to invest in this field in collaboration with learned societies representing cinema and audiovisual studies, as well as professional and civil society collectives and associations.

Proposals in French or English to be sent by December 10, 2024 to genreenseries@gmail.com.

Yorùbá wí pé "ilé la ti ń kó ẹṣọ ròde", àwọn náà ni wọn tún ní wípé "ẹnití kò bá ní nǹkan, kò leè fún ni", èyí túmọ sí wí pé bí kò bá sí ẹṣọ nílé, dandan ni kí á kóo wá láti òde. Ẹṣọ tí Yorùbá ń sọ yìí ìwà àti ẹkọ ni ó ń jẹ bẹẹ. Ọrọ àwọn ògo wẹẹrẹ wa ló jẹ wa lógún nínú àpilèkọ yìí, nípa ìlànà tí à ń lò láti kọ wọn ní ẹkọ láyé òde òní. Òfin ilẹ wa kò fẹ faramọ kí a máa fi ẹgba lu àwọn ọmọ tí à ń kọ ní ẹkọ láyé òde òní, ṣùgbọn báwo ni a ṣe fẹ ṣeé tí a óò rí kọ wọn ní ẹkọ tí ó yè Kooro láì lọ ẹgba tàbí ìjìyà kankan

In the year of sesquicentennial celebration of Gandhi’s birth anniversary the researcher through this paper proposes to study the depiction of Gandhi and his teachings as portrayed in the visual narrations. Even though Gandhi is said to have watched just two films in his lifetime, but even decades after this death in the year 1948 many filmmakers are still showing great interest in Gandhi and Gandhism to build popular visual narratives. Films have been critical in their nature and approach towards Gandhi, his life and his teachings. While some filmmakers through their works have criticized the established historical information on Gandhi, some of them attempted celebrate and romanticize Gandhism in an informative way. Richard Attenborough in his 1982 release titled ‘Gandhi’ presents the freedom fighter as national figure who agitated against the powerful British with his unparallel weapon of Ahimsa and Satyagraha to attain freedom for India. Rajkumar Hirani in his 2006 release Lage ...

The study is classroom action research. It aims at improving students' ability in comleting/finising provit and loss calculation in trade by using percentage through assignment/task method (metode pemberian tugas). The subjeck of the study is student of VII A of MTs Alkhairaat Pusat Palu. The problem of the study is the lack of students' ability in completing/finising provit and loss calculation using percentage and its Application. Alternative of the problem used in the study is by appling assignment study method. Based on the observation done during the study, it indicates that there is improvement of the students' ability in completing/finising provit and loss calculation in trade ranging from first and second cycle. Before the cycle implemented (preliminary study), it was found out that the students' mastery learning was 20% or 6 students, that there were 80 % of the students or 24 students. Who did not gain the mastery learning and that the students' classical absorption was 52,5%. The result obtained in the first cycle was that the students' mastery learning was 36,67% or 11 students' that there were 63,33% of the student or 27 students who did not achieve the mastery learning, and that the students classical absorption was 65,56%. While in the second cycle, it was found out that, the students' mastery learning was 90% of the students (36 students), that there were 10% of the students (4 students) who did not gain the mastery learning, and that the students classical absorption was 87,17%. This the final result of the study it could be concluded that there wen students' improvement dealing with their classical absorption in comleting/finising provit and loss calculation, that was 26,60%.

: The study is classroom action research. It aims at improving students’ ability in comleting/finising provit and loss calculation in trade by using percentage through assignment/task method (metode pemberian tugas).  The subjeck of the study is student of VII A of MTs Alkhairaat Pusat Palu. The problem of the study is the lack of students’ ability in completing/finising provit and loss calculation using percentage and its Application. Alternative   of  the problem used in the study is by appling assignment study method. Based on the observation done during the study, it indicates that there is improvement of the students’ ability in completing/finising provit and loss calculation in trade ranging from first and second cycle. Before the cycle implemented (preliminary study), it was found out that the students’ mastery learning  was 20%  or 6 students, that there were 80 % of the students or 24 students. Who did not gain the mastery learning and that  the students’ classical absorpti...

Social unrest has been a common phenomenon in almost all societies of the world and especially in countries where capitalist systems of government operate. It has been a phenomenon that destabilizes the society because of its violent nature. Various reasons have been advanced as causes of civil unrest, the most prominent being oppression. Several efforts have been made and are still being made to prevent social unrest within communities and states. Yorùbá literary writers are not left out in the crusade. This paper examines the views of Akínwùmí Ìṣò ̣lá, a prolific Yorùbá literary writer on causes of social unrest and how to curb its frequent occurrence in our societies. It is hoped that suggestions made at the end of the discussion will go a long way in addressing the issues of social unrest within our communities so as to move the society forward.

Music, like language, is a part of everyday life, and is more present in the average person's life. The problem of emotional expression is so much that spoken language alone cannot accurately convey. It is an essential element of most forms of today's very powerful media, constantly on the radio, television, movies and on the internet. In another perspective, civic responsibilities require a proper upbringing to ensure adequate preparedness for the task of living purposefully within and for the community. This paper is based on the information derived from the conducted research and in order to present an authentic report, random opinion of people on the subject matter, some other traditional songs which are possessing powerful thought about the subject were collected, studied and analysed. Related scholarly works such as Paivio (1971), Faseun (2005), Hollinger (2006), Ogunrinade (2007) and others were also perused. Based on the conducted investigation, it was discovered that Nigerian traditional society possessed a vast collection of musical pieces that can evoke power to do, make or mar almost every facets of man's endeavour. It was also discovered that the Nigerian curriculum for music is geared towards advocating for western musical culture and that music participation among Nigerian children is relatively low. This paper concluded that music is viable to manipulate moods, arousal and feelings. It can, in return, create an environment capable of manipulating other peoples' feelings and behaviour. Finally, it was concluded that active involvement in music making by children will increase self esteem and promote a range of socio-democratic responsibilities. It was, however, recommended that the Nigerian music curriculum be revamped in its content to accommodate music that can promote positive thinking towards the country's democratic systems. A fusion of traditional art forms and that of western culture should be developed and lastly, music should be make a compulsory subject from infancy to, at least, final class in the secondary school.

Music, like language, is a part of everyday life, and is more present in the average person's life. The problem of emotional expression is so much that spoken language alone cannot accurately convey. It is an essential element of most forms of today's very powerful media, constantly on the radio, television, movies and on the internet. In another perspective, civic responsibilities require a proper upbringing to ensure adequate preparedness for the task of living purposefully within and for the community. This paper is based on the information derived from the conducted research and in order to present an authentic report, random opinion of people on the subject matter, some other traditional songs which are possessing powerful thought about the subject were collected, studied and analysed. Related scholarly works such as Paivio (1971), Faseun (2005), Hollinger (2006), Ogunrinade (2007) and others were also perused. Based on the conducted investigation, it was discovered that Nigerian traditional society possessed a vast collection of musical pieces that can evoke power to do, make or mar almost every facets of man's endeavour. It was also discovered that the Nigerian curriculum for music is geared towards advocating for western musical culture and that music participation among Nigerian children is relatively low. This paper concluded that music is viable to manipulate moods, arousal and feelings. It can, in return, create an environment capable of manipulating other peoples' feelings and behaviour. Finally, it was concluded that active involvement in music making by children will increase self esteem and promote a range of socio-democratic responsibilities. It was, however, recommended that the Nigerian music curriculum be revamped in its content to accommodate music that can promote positive thinking towards the country's democratic systems. A fusion of traditional art forms and that of western culture should be developed and lastly, music should be make a compulsory subject from infancy to, at least, final class in the secondary school.

This teaching dossier article describes environmental documentary courses that taught students how cultural views of what constitutes an environmental problem change across place and time, just as styles of nonfiction media production do as well. As interdisciplinary ventures, these courses simultaneously considered the history of documentary form alongside the genealogy, or conceptual history, of environmental ideas. Concepts as diverse as “recycling,” “ecotage,” and “conservation” each called for different styles of nonfiction communication, with lasting implications for social movements as well as documentary media practices. Keeping these goals in mind, this article focuses on strategies for teaching between documentary studies and the history of environmentalism.

Avatar is a "drama" and Squid Game is a "movie": a new era of convergence Can the Hollywood blockbuster Avatar be regarded as a drama series? Would it be accurate to consider the Korean Netflix hit Squid Game as a franchise movie? Addressing these questions can be controversial as their reasoning may seem frivolous to some critics while insulting to others who believe that movies are superior to television dramas (see Cox [2013], Barra & Scaglioni [2016], and McNair [2014]). But to what extent do such prevailing beliefs or perceptions expressed by critics accurately reflect how entertainment is viewed in our time? The answer is closely linked to a blurring of boundaries between delivery formats of content. This is not a new debate. Go back to the 1980s or 1990s and a similar question was raised with the development of new media such as cable TV or the specialized entertainment channels in the United States, which was boosted by the influx of large private investment (Dunleavy, 2017; Holt, 2011). Such a trend led to the concept of "quality television" that sought to emphasize the high-level production involved in the programmes on these channels. Thus, the focus among scholars at that time, for example Thompson (1997), was more on the product quality of the content. This led to the term "quality drama" being coined to highlight the more advanced cinema-like quality of dramas. Regarding the question presented at the beginning, Table 1 shows an interesting result from a survey conducted in Korea, which has one of the most vibrant audiovisual industries in the world. It was organized by the Korea Culture and Tourism Institute from 19 October 2021 to 25 October 2023 with the purpose of developing more effective content policies in Korea. 1 Conducted online, a number of symbolic Korean audiovisual works were presented in this survey to investigate the Korean audience's experience with films and dramas within a new environment where streaming services have solidified their positions as one of the primary modes of audiovisual consumption. Although Squid Game (nine episodes) and Kingdom: Ashin of the North (one episode) are both classified as drama series by Netflix, 2 almost one quarter and more than half, respectively, of the Korean respondents in the survey regard them as movies. By contrast, the romantic comedy movie Sweet & Sour (2021) is classified as a movie by Netflix, a similar ratio of people considered it either as a drama series or a movie. Why does there appear to be such "confusion" among audiences? There are three reasons for why such blurred lines between movies and dramas have appeared among audiences. First, Hollywood has become increasingly risk averse (Hoad, 2013). As such, they have moved away from edgy standalone films to focus more on producing franchise action movies that not only utilize a recognizable brand name, for example the Marvel Comics Universe or Transformers, but can also lead to successful sequels and spin-offs. Second, new media such as Netflix have provided a steady stream of high quality and attractive content to increase audience engagement and loyalty which help to secure their long-term profitability. Within the brand, Netflix has invested heavily in their Original Series and Original Movies ventures, such as Stranger Things, Bridgerton, and Squid Game. At the same time, the company has contracted high-profile film directors, such as Noah Baumbach,

Adanya permasalahan rendahnya hasil belajar dan ketertarikan peserta didik kelas VII pada mata pelajaran matematika di SMP Swasta Muhammadiyah Kota Tebing Tinggi sebagai wujud pembuktian bahwa kualitas pembelajaran matematika disekolah tersebut tergolong rendah. Untuk membantu sekolah mengatasi permasalahan tersebut maka sumber belajar disekolah perlu berinovasi khususnya yang digunakan pada pelajaran matematika. Adapun bentuk lain dari adanya inovasi sumber belajar yang dapat direalisasikan adalah membuat modul pembelajaran secara bentuk digital. Tujuan adanya penelitian ini adalah mengembangkan dan menjadikan modul digital pada pembelajaran matematika materi aritmatika berbasis drill and practice sebagai solusi untuk meningkatkan hasil belajar dan ketertarikan peserta didik dalam pelajaran matematika. Penelitian ini menerapkan konsep metode Research and Development dengan model pengembangan 4D. Modul yang dihasilkan bersifat interaktif karena menggunakan multimedia yang dibuat ber...

Music, like language, is a part of everyday life, and is more present in the average person's life. The problem of emotional expression is so much that spoken language alone cannot accurately convey. It is an essential element of most forms of today's very powerful media, constantly on the radio, television, movies and on the internet. In another perspective, civic responsibilities require a proper upbringing to ensure adequate preparedness for the task of living purposefully within and for the community. This paper is based on the information derived from the conducted research and in order to present an authentic report, random opinion of people on the subject matter, some other traditional songs which are possessing powerful thought about the subject were collected, studied and analysed. Related scholarly works such as Paivio (1971), Faseun (2005), Hollinger (2006), Ogunrinade (2007) and others were also perused. Based on the conducted investigation, it was discovered that Nigerian traditional society possessed a vast collection of musical pieces that can evoke power to do, make or mar almost every facets of man's endeavour. It was also discovered that the Nigerian curriculum for music is geared towards advocating for western musical culture and that music participation among Nigerian children is relatively low. This paper concluded that music is viable to manipulate moods, arousal and feelings. It can, in return, create an environment capable of manipulating other peoples' feelings and behaviour. Finally, it was concluded that active involvement in music making by children will increase self esteem and promote a range of socio-democratic responsibilities. It was, however, recommended that the Nigerian music curriculum be revamped in its content to accommodate music that can promote positive thinking towards the country's democratic systems. A fusion of traditional art forms and that of western culture should be developed and lastly, music should be make a compulsory subject from infancy to, at least, final class in the secondary school.

Pọ̀ ṣùgbọń kò sí lámèyítọ́ tó yẹ ìlò èébú wò nínú àwọn ìwé náà tàbí ti òǹkọ̀wé ìtàn-àròsọ Yorùbá mìíràn. Iṣẹ́ yìí ṣe àyẹẁò ìlò èébú nínú ìtàn-àròsọ Òkédìjí, ó sì lo ọgbọ́n ìwádìí kíka àwọn ìwé náà ní àkàtúnkà láti ṣe àfàyọ àti àkójọpọ̀ gbogbo èébú tó súyọ kí a tó ṣe ìtúpalẹ̀ wọn. Tíọŕì ọǹà ìṣafọ̀ tó jẹmọ́ èròǹgbà aṣafọ̀ àti ìmọlára òsùnsùn-afọ̀ nípa afọ̀ la fi ṣe àlàyé wa. Ìgbà ọọ̀dúnrún àti ọkandínláàádọŕùn-ún ni Òkédìjí ti lo èébú nínú àwọn ìtàn-àròsọ rẹ, ọǹà ìṣafọ̀ méjì tó gbà ṣe àgbékalẹ̀ èébú ni ìṣafọ̀sínú àti ìṣafọ̀síta. Ìsọ̀rí èébú wọ̀nyí lè jẹ́ èébú ti ẹlẹýọ-ọ̀rọ̀, alápòólà, odindi gbólóhùn, oníbéèrè, òwe àti oríkì ajẹméèébú. Iṣẹ́ tí àwọn aṣafọ̀ fi èébú ṣe nínú ìsọ̀rọ̀gbèsì la fi kásẹ̀ àlàyé wa.

The low achievement and interest in mathematics among 7 th grade students of SMP Muhammadiyah Tebing Tinggi City indicated that the quality of mathematics teaching at the school needs was low that it required improvement. To address this issue, innovations should be applied in the learning resources used in the teaching of mathematics, such as by developing digital learning modules. This research and development study was conducted to develop a digital module to teach students arithmetic based on the drill and practice method to improve students learning outcomes and interest in mathematics. The 4D research and development model was employed in the development of this interactive module which integrates multimedia to facilitate the variety of learning styles, including the audio and visual learning style. The digital module developed in this study showed very high validity as assessed by the media expert (3.64), content expert (3.64) and language expert (3.65). The assessment also showed that this module is practical to use (80%) and it successfully improved students' learning outcomes for social arithmetic material with N-gain score of 0.3635 (moderate improvement).

* Este ensayo es una versión más elaborada de una conferencia presentada en el coloquio «Masculinidades en cuestión: modelos, perspectivas y formas de violencia», que tuvo lugar en la Universidad de Ginebra, en febrero del 2022. Agradezco a los organizadores, Pedro Cerdeira y a Octavio Páez Granados por la invitación, y a este último, en particular, por sus comentarios.

The COVID-19 pandemic, and the unprecedented confinement measures it prompted governments to take, has led to a boom of audiovisual testimonies of the numerous facets this global phenomenon has assumed. Some of the testimonies have taken the shape of essay films which embrace the topic of the restrictions imposed on access to the outside world, turning them into organizational principles and formal devices. In this article, I will comment on some of the specificities of the audiovisual by-products of the COVID-19 confinement and their approach to filmic representation of the spatial sense of self and to the audiovisual making of the political subject. I will approach a sample of these films, namely the "cinematic letters" proposed by the Cinémathèque Française during last spring's national lockdown, via two phenomena. The first is carceral experience and its various enunciations which, notwithstanding the overwrought parallels sometimes made with the pandemic-induced lockdown, can provide useful context for analyzing the relation between the forcibly secluded individual and the outside world. The second is the recording of voluntary social isolation-a particular thematic configuration of the essay film which converges with the COVID-19 confinement films in terms of discursive strategies and spatial problematization.

Successive UK governments since the mid-1980s have sought to create a more competitive framework between firms in broadcasting through interventions which constrain the market power of dominant players. In this working paper the gradual encroachment of the competition discourse is described as it undermined the longstanding social democratic model for broadcasting regulation while ignoring lessons from the USA about the consequences of the changes being wrought. The effect of the influence of this discourse on the regulatory framework, and the evolution of the business models of production companies, is traced as, over time, increasing consolidation between production companies and foreign ownership of the production sector occurred.

Fluidity is my inspiration for this cover art, thus the use of one-line art style. For me, gender is flowing; it is ever-changing, it does not take a certain form. Gender should not dictate how we should be, rather, embrace how we are-free from expectations, free from judgement, living our truest form. About the Artist Dale Magsino, is a self-taught freelance artist from Alabat Island, Quezon. Post pandemic, they've been active in participating in art bazaars and gallery shows in Manila. Dale's works play on emotions and experiences both observed and expressed. Art is their medium to communicate inner personas their organic body cannot. They are currently open for commission graphic design works and teaching art to kids on the side.

The Nollywood phenomenon has remarkably become an international moviemaking culture, serving as one of the determinants of Nigerian perception formation on social and educational behaviours. Globalisation in the film industry impacts audience taste and perception, not only in the global free market but also among niche audiences. This audience segmentation occurred due to globalisation, enabling cross-border production or transnational cinema. This research investigates how the Nollywood audience in Nigeria perceives its movies and the factors that influence their perception. Audience perceptive elements in this research are classified as tripartite (education, entertainment, information). Using a semi-structured questionnaire, 387 were distributed, but only 367 were valid. The study employs a descriptive and regression analysis to showcase the frequency of audience perception and compare how effectively the factors affect audience perception. Based on the descriptive analysis, the results showed that Nollywood movies are mostly entertainment, followed by educative and informative. In addition, the regression results revealed that factors such as the level of income, occupation, tribe, the language of movies watched, triggers watching movies, genre, streaming platforms, time (weekdays, weekends, and times watching movies in a week) significantly influenced audience perception. Whereas time constraints (watching during weekdays and weekends) weakly influence audience perception. The findings suggest a need for Nollywood movies to pay more attention to audience expectations and experience in their dissemination to enhance audience perception of the movie industry.

In the society today, we have been forced to accept the reality that the world has been beclouded with all manners of societal vices and ill-manner approach to things. This societal vices and ill-manner approaches is not only carried out by individual, but also groups of persons which have resulted to acts such as suicide, bankruptcy, will full homicide, enmity, face-offs, economic crises, divorce, sickness, and untimely deaths. This implies that many people have just little or no knowledge of philosophy which impacts the knowledge and awareness of the implications of human acts both in this world and in life after death. This study intends to educate the academic community on the place of philosophy in the teaching of citizenship Education, and the entire public on the rudiments of philosophy with the intent of inculcating in them, morality and decency to make the society habitable to all. The methodology employed in this study includes exposition, analysis, and speculation. The study reveals that the knowledge of philosophy is very important to mankind, as it creates the awareness of the moral responsibility of one's actions which motivates everyone to do good and avoid evil. It also reveals that the knowledge of philosophy helps one to discern truth and falsity in statements, validity, invalidity, soundness, unsoundness, and fallacies in arguments, wisdom that enables one to contradict the destructive ingenuity of fraudsters. The study concluded that wisdom rules the world and that any knowledge and expertise devoid of wisdom stagnates societal development in all ramification and can lead to a total collapse of the society hence the need to inculcate more philosophical topics such symbolic logic, ethics and morality, or perhaps allow for the introduction of philosophy and Logic, history and philosophy of science as a general studies to complement citizenship education and add value to the slogan that as a graduate "you have been worthy in character and in learning. The study recommends among other things that philosophy and philosophers are crucial to the teaching of citizenship education. 2. Brief Historical Evolution of Citizenship Education Citizenship education and its historical evolution can't be emphasized without recourse to the birth of democratization in the world and Nigeria in particular. The conception of democracy in the ancient Greek city state of Athens and the manner it was practiced, with exclusion of certain segment of society namely women, slaves, aliens and peasants-has inspired the notion of citizenship. Historically, Athens left a legacy of democracy and citizenship to the modern world. With the decline of ancient Athens and the rise of Roman Empire, the concept of citizenship assumed wider focus and state decline was attributed to bad citizenship. In the modern age, the complexities of interests within nationstate, high crime rate, civilization, terrorism and failed state phenomenon, make citizenship education an imperative. Without any sense of contradiction, citizens need to be educated and be informed about the governing process, the rights they are to demand from the state and the responsibility required of them. Both the state and the citizens should fulfil their