Romantic Films

Edith Wharton's The Age oflrmocence (1920) presents two different types of exile, enacted in the female characters of Ellen Olenska and May Welland. The former's is a literal exile, enforced on her by the rigidity of social norms and her own yeaming for freedom. She is a representative of proto-feminism and with slight diñerences can be met on a number of literaiy works from the epoch. May Welland is, due to her singularity, a much more complex and challenging character. Hers is a voluntary self-exile stemming from a need to survive in a tremendously exacting environment and leading her to deny herself and strive to become what others expect her to be. Edith Wharton's technique in the depiction of May Welland is far from explicit and the true nature of the character remains considerably hidden throughout the novel. This work tries to evidence that most critical readings -not to mention those of general readersof May Welland have been simplistic, distorted and too determined by Newland Archer's view of her. Wharton's character should however prompt a reflection on the harshness of an environment in which some women could not añbrd being themselves. El movimiento naturalista de finales del siglo XIX y principios del XX se caracteriza por presentar personajes que por seguir su propia inclinación y rebelarse de ese modo contra los valores y expectativas de su entorno terminan siendo destruidos. Ejemplos de ello serían las protagonistas de Maggie (1893) de Stephen Grane y The House of Mirth (1905) de Edith Wharton. El naturalismo suele también ocuparse de los vencedores en esa fatídica lucha por la supervivencia, los más adaptados, aunque por lo general sin prestar demasiada atención a la forma en que se ha llegado a esa supuesta adaptación o el sufrimiento y esfuerzo que ello puede haber requerido. En The Age of Innocence (1920), sin embargo, Wharton dedica la mayor parte de la novela a dos supervivientes, que dejando a un lado sus inclinaciones individuales, consiguen cumplir a la perfección con lo que todos á su alrededor esperan de ellos. Se trata del protagonista, Newland Archer, y de su prometida y después esposa, May Welland. En el caso del primero de ellos, la autora hace partícipe al lector en todo momentohasta casi rozar lo melodramático-de la dificultad que ello le supone y que incluye, entre otras cosas, renunciar a la persona amada. Con May Welland, la estrategia narrativa es distinta, pues no se explican abiertamente sus conflictos y se obliga al lector a reconstruir -mediante ciertas claves diseminadas por la novela-una situación tan dramática como la de Newland y mucho más conmovedora. La obra de Edith Wharton (1862-1937) ha sido considerada durante mucho tiempo como un perfecto ejemplo de novela femenina burguesa. Ello explica que haya estado sumida durante bastante tiempo en un relativo olvido crítico, que sólo recientemente parece haber

Hong Kong’s dense streets feature prominently in global genres such as cyberpunk and neo-noir, which often reproduce the vertical dichotomy of trashy crime-filled city streets versus techno-futurist skyscrapers. In Hong Kong cinema itself, waste is often rendered invisible but also springs up in genres such as crime and social issue films to interrogate questions of excess and class relations in public space. The films Limbo (2021) and Drifting (2021) represent recent developments in these genres, responding to a wider sense of anxiety over the legibility and accessibility of the city which demands documentation in the face of redevelopment and disappearance. Limbo tells the story of a serial killer who leaves chopped-off hands as traces – ‘excess’ body parts that emphasize an association between waste, violence, and bare life. Drifting is based on the real story of a group of street sleepers whose belongings were trashed in 2012, and it questions how people can be so easily excluded from public space and their closest possessions categorized as refuse. In these post-2019 films, the visually intruding figure of trash comes to be imbued with allegorical meanings related to the negotiation over public space and what or who is wanted there, or ‘refused’.

There has been a reconstitution of a ‘local’ identity in opposition to leftist politics in articulating recent pro-democratic activist movements in Hong Kong. In light of this context, this article examines this historical
formation through the lens of using Hong Kong leftist cinema of the 1950s, especially productions from the Union Film Studio, as a case study. Through focusing on some key examples from the Hong Kong Cantonese leftist cinema of the 1950s, this paper traces the historical construction of a politicized ethical consciousness in Hong Kong poignant throughout the 1950s but became increasingly marginalized from the mid-1960s on. It argues that the class and gender analysis that
post-war filmmakers made of colonial capitalism needs to be re-read in relation to a form of Chinese anti-imperial patriotism heavily marked by traumatized historical feelings from feudal, colonial and wartime experiences, driven by an emotional need for an idealized community through identifying with the underclass and the dispossessed. It pro-
poses a reconsideration of Hong Kong’s cultural and film histories through mapping the development of this politicized film discourse
which has inherited the rich tradition of Shanghai leftist cinema while fueled with an anti-colonial, anti-capitalist ethic to effectively respond to the post-war Chinese refugee-dominated society. This article problematizes the often taken-for-granted meanings and values of a Hong Kong ‘local’ identity defined as opposed to those of Mainland China,
serving to perpetuate the Cold War binarism, and argues that the successful neoliberalization of Hong Kong from the 1970s on is a result of
the collaborative efforts among the PRC ‘extreme left’ during the Cultural Revolution, globalized Cold War forces, KMT cultural-political demands from Taiwan, and British colonial polices, not without irony.

Cosmopolitanism promises to go beyond national thinking and tradition-bound parochialism by reemphasizing the interconnectedness of individuals, communities, and cultures. This article probes the politics of adaptation of the left-leaning Cantonese Union Film Enterprise (Zhonglian 中聯, 1952–1967) in colonial Hong Kong, and scrutinizes how it embraced world literary classics to enhance the prestige of Cantonese films. It focuses on three 1955 adaptations: An Orphan's Tragedy (Guxing xuelei 孤星血淚; from Great Expectations), Anna (Chuncan mengduan 春殘夢斷; from Anna Karenina), and Eternal Love (Tianchang dijiu 天長地久; from Sister Carrie). The founding of Union was a conscientious response of Cantonese film workers to the call of the Cantonese Film Clean-up Campaign (Yueyu dianying qingjie yundong 粵語電影清潔運動) in the 1940s, launched by leftist filmmakers from Shanghai (Cai Chusheng 蔡楚生, Situ Huimin 司徒慧敏) and supported by Cantonese film leaders Ng Cho-fan 吳楚帆 and Lo Duen 盧敦. The study interrogates the predicaments and vicissitudes of Union's cosmopolitan stances as it wrestled with the cultural politics of Chinese cinema during the Cold War. It elucidates the ethnically rooted and culturally cosmopolitan Cantonese progressive cinema. The social realism represented by Union is not local or passé. The Union artists envisioned from below a humane and cosmopolitan community inhabited by workers and intellectuals, locals and diasporic Chinese subjects, which connects people beyond their parochialism and nationhood.

Cosmopolitanism promises to go beyond national thinking and tradition-bound parochialism by reemphasizing the interconnectedness of individuals, communities, and cultures. This article probes the politics of adaptation of the left-leaning Cantonese Union Film Enterprise (Zhonglian 中聯, 1952–1967) in colonial Hong Kong, and scrutinizes how it embraced world literary classics to enhance the prestige of Cantonese films. It focuses on three 1955 adaptations: An Orphan's Tragedy (Guxing xuelei 孤星血淚; from Great Expectations), Anna (Chuncan mengduan 春殘夢斷; from Anna Karenina), and Eternal Love (Tianchang dijiu 天長地久; from Sister Carrie). The founding of Union was a conscientious response of Cantonese film workers to the call of the Cantonese Film Clean-up Campaign (Yueyu dianying qingjie yundong 粵語電影清潔) in the 1940s, launched by leftist filmmakers from Shanghai (Cai Chusheng 蔡楚生, Situ Huimin司徒慧敏) and supported by Cantonese film leaders Ng Cho-fan 吳楚帆 and Lo Duen 盧敦. The study interrogates the predicaments and vicissitudes of Union's cosmopolitan stances as it wrestled with the cultural politics of Chinese cinema during the Cold War. It elucidates the ethnically rooted and culturally cosmopolitan Cantonese progressive cinema. The social realism represented by Union is not local or passé. The Union artists envisioned from below a humane and cosmopolitan community inhabited by workers and intellectuals, locals and diasporic Chinese subjects, which connects people beyond their parochialism and nationhood.

When pursuing a Master's Degree in film production at the Hong Kong Baptist University, Chan Tze-woon made two short films, ＂The Aqueous Truth＂ (2013) and ＂Being Rain: Representation and Will＂ (2014). Both are mockumentaries about state conspiracy and are intended to challenge the lack of government transparency and accountability in Hong Kong. In September 2014, Chan picked up his camera to join and film the protests of young students and eventually filmed 1,000 hours' worth of footage of the Umbrella Movement, from which he produced his first documentary, Yellowing (2016). In Yellowing, Chan forsakes the grand narrative of political and social interpretations, and shuns interviewing political activists or political celebrities who receive international media attention. His camera revolves around committed young rebels as individuals, catching their spontaneous responses and desires, idealisms and passions, hopes and fears, frustrations and contradictions, from a ＂fly's...

Objective and aim. This article examines the literary history of love from the late twelfth century to the present for its relevance to our current notions and issues of love in relationships. Material andmethod. The bases of the study are the European literature on love from 1200 to 1700, the German Romanticism and the New Objectivity, (popular) psychological and sociological literature, textbooks for marriage counselors and contemporary literature in a broad sense. Methodologically, the study is based on the system theory of the sociologist Niklas Luhmann. Results. There is a correlation between social change, narrative responses in the literature to this change, and the significance of these ideas for the development of our present-day love semantics. The evolutionary perspective also shows that there is not only one “true” love but different concepts of love, which are coupled with different types of individuality. Conclusion and clinical relevance. (Couples) therapy should not based on a single ideal of love but more ...

La edad de la inocencia (The age of innocence en inglés) es una película de época romántica del año 1993 dirigida por Martin Scorsese, la cual está basada en la novela homónima escrita por Edith Wharton en 1920; esta adaptación cinematográfica del director y guionista de descendencia italiana ha sido considerada como una adaptación fiel a la obra original. Por lo cual me preguntaré qué hace de la adaptación de Scorsese una película tan personal y cuya trama es atractiva y comprensible para un público contemporáneo.

For many years, human beings have taken different pleasures from what they see, watch, read and listen. Over time, it was understood that visual arts are the most efficient way for that because it can reflect the thoughts and feelings of a man. Patriarchal society that is the ruler in the community has structured a form in visual arts called "cinema". In this way a language was created to impose his thoughts and feelings through the silent image of woman represented in the cinema as the ultimate object of notions such as ideas, desires or wishes.Thus, man started to adapt into a movie his imagination and passion easily. Indeed cinema satisfies the primal wish of audience. It goes further developing scopophilia in it. So psychoanalysis is needed to uncover the reality that lies under the every scene. Beginning here, this study aims to find out answers for these questions, through the light of psychoanalysis, whether cinema has a language illustrating the feelings, desires, and the ideas of the more powerful one, man, using woman as an aesthetic object or woman likes to be looked at literally.

The last two decades have seen a dramatic rise in the number of informal day labor sites throughout the continental United States, to the point that they have become a ubiquitous presence in most of the country’s urban areas. Theseparadas or esquinas—as day laborers call them in Spanish—are usually inhabited by migrant Latin American men, mostly recent “undocumented” migrants, who stand on the curbside of outlying traffic corridors or in the parking lots of mega retail stores, waiting for someone to stop and hire them. In California, which has one of the highest number of undocumented migrants

Cinema censorship is a relatively unexplored topic in the discipline of surveillance studies. While movies are frequent references throughout the scholarship, such citations tend to be limited to plot and imagery and overlook the ways in which the medium can be subject to state intervention or other forms of censorship and self-censorship. This essay uses the case of the 2015 Hong Kong independent film Ten Years to explore how cinema deserves to be considered alongside other media and communications whose vulnerability to institutional control and monitoring are already widely documented by surveillance studies. The film, which reflects Hong Kong residents' critique of mounting Chinese power, was the object of an aggressive vilification and repression campaign by the mainland Chinese government. It also spawned a grassroots defense in which audiences and filmmakers mobilized around the film as a symbol and site of civic discourse and political critique. Using the concepts of participatory media and online activism and connecting Ten Years with Hong Kong's 2014 " Umbrella " protests against Chinese rule, this essay shows how cinema invites the same interventions and interactivity as social media and other digital or communications technologies. Indeed, because Ten Years' history of populist activism resembles well-known instances of media mobilization such as the Arab Spring and Black Lives Matter, this essay demonstrates not only cinema's multiple dimensions of relevance for surveillance studies but also uncovers new global spaces whose film history will diversify surveillance studies.

Fantasy in the cinema is created through the inherently voyeuristic mechanism that comes into play here more strongly than in the other arts. A Freudian psychoanalytic term, voyeurism refers to the erotic gratification of watching someone without being seen oneself, i.e. the activity of the Peeping Tom. Exhibitionism refers in psychoanalysis to the sensual gratification derived from showing one's body - or part of it - to another person, as in the pleasure of being seen, or seeing oneself on the screen. Voyeurism is an active perversion, practiced primarily by men with the female body as the object of the gaze, while exhibitionism is its passive counterpart

Fantasy in the cinema is created through the inherently voyeuristic mechanism that comes into play here more strongly than in the other arts. A Freudian psychoanalytic term, voyeurism refers to the erotic gratification of watching someone without being seen oneself, i.e. the activity of the Peeping Tom. Exhibitionism refers in psychoanalysis to the sensual gratification derived from showing one's body - or part of it - to another person, as in the pleasure of being seen, or seeing oneself on the screen.

Wie ist der globale Konsum von Liebe möglich? Was geschieht, wenn lokale und globale Semantiken zusammenstoßen? Fördert diese Begegnung die Evolution der Liebessemantik - oder wird sie dadurch behindert? Dieser Band beleuchtet das Spannungsverhältnis von Globalität und Lokalität anhand von unterschiedlichen Rezeptionen der modernen, westlich geprägten Liebessemantik in verschiedenen Kulturkreisen und sozialen Schichten. Systematisch präsentieren und diskutieren die Beiträge verschiedene Rezeptionsprozesse sowie Modifikationen durch die Konfrontation mit lokalen, traditionellen Semantiken und ermöglichen so einen außergewöhnlichen Einblick in die Welt der Liebe.

Far more than a simple collection of movie locations, WORLD FILM LOCATIONS HONG KONG delivers a rare glimpse into the history of ilm production practices in Hong Kong. The locations described here are often not the most iconic; rather, they are the anonymous streets and back alleys used by local film studios in the 1960s and 1970s. They are the garden cafes with outdoor seating near the Chinese University of Hong Kong where moments of conflict in romantic comedies erupt and dissipate. They are the old Kai Tak Airport, which channels rage and desire, and the tenement housing, which splits citizens into greedy landlords and the diligent working class and embodies old-day communal values. Modern Hong Kong horror films draw their power from the material character of home-grown convenient stores, shopping arcades, and lost mansions found under modern high rises. As in the films of Wong Kar-wai and Johnnie To, readers will drift and dash through the streets of Central to the district's periphery, almost recklessly, automatically, or for the sheer pleasure of roaming. This book is more than a city guide to Hong Kong through the medium of film; it is a unique exploration of the relationship between location and place and genre innovations in Hong Kong cinema.

Was Schlaflos in Seattle davon weiß, was der Film von der Liebe weiß 31 Jens Ruchatz "Was macht eigentlich...?" Zeitgebundene Erinnerungen von und an bundesrepublikanische Filmstars 39 Lu Seegers Rezensionen 44 Impressum Medieninhaber, Herausgeber und Verleger: Verein "Arbeitskreis fiir historische Kommunikationsforschung (AHK)", Schopenhauerstraße 32, A -l 180 Wien http://www. medienundzeit. at © Die Rechte fiir die Beiträge in diesem Heft liegen beim "Arbeitskreis fiir historische Kommunikationsforschung (AHK)"