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[Resumen] Un mundo globalizado, cambiante e interconectado requiere ciudadanos multilingües y multiculturales que sepan manejarse en diferentes situaciones. La formación de dicha ciudadanía necesita propuestas educativas rigurosas e innovadoras que estén al servicio de las necesidades de la sociedad del siglo XXI. Teniendo en cuenta la elevada exposición a productos audiovisuales y la motivación y el interés que dichos productos suscitan es necesario explorar las diferentes posibilidades para la inclusión de los mismos en los procesos de enseñanza-aprendizaje. El análisis fílmico es una opción con un largo recurrido, y en las últimas décadas ha tenido lugar un inusitado auge de la Traducción Audiovisual Didáctica, materializado a en proyecto como PluriTAV, ClipFlair o TRADILEX. El objetivo de esta propuesta es explorar la escalabilidad de la Traducción Audiovisual Didáctica (TAD) para comprobar su compatibilidad con la producción audiovisual, los estudios fílmicos, la metodología AICLE (Aprendizaje Integrado de Contenidos y Lenguas Extranjeras) y el enfoque IFSyC (Inglés con Fines Sociales y de Cooperación) para el tratamiento de contenidos transversales. Para ello se ha producido un vídeo en el seno del Proyecto I+D+i TRADILEX (La TRaducción Audiovisual como recurso DIdáctico en el aprendizaje de Lenguas EXtranjeras) (2020-2023) que ha servido como base para diseñar una unidad didáctica. Este vídeo versa sobre las desigualdades de género a lo largo de la historia y se basa en A Room of One’s Own de Virginia Woolf. A modo de conclusión, la TAD muestra una alta compatibilidad con la metodología AICLE y el enfoque IFSyC es de gran interés para trabajar contenidos transversales en el aula de lenguas extranjeras. [Abstract] A globalized, changing, and interconnected world needs multilingual and multicultural citizens who know how to deal with different situations. Teaching for the 21st century citizenship requires rigorous and innovative educational proposals that meets the needs of our society. Taking into account the high exposure to audiovisual products and the motivation and interest that these products arouse, it is necessary to explore the different possibilities for their inclusion in the teaching-learning processes. Film analysis is an option with an important tradition, and in the last few decades there has been an exponential growth of research on Didactic Audiovisual Translation. Projects such as PluriTAV, ClipFlair or TRADILEX are clear examples of this growing interest on this field. The objective of this proposal is to explore the scalability of Didactic Audiovisual Translation (DAT) by checking its compatibility with Audiovisual Production, Film Studies, the CLIL methodology (Content Language Integrated Learning) and the ESoP (English for Social Purposes of Cooperation) approach. Social and Cooperation) which serves as a basis for the inclusion of transversal contents. To do so, a video has been produced within the TRADILEX project. This video has served as the basis for designing a teaching unit. This video is about gender inequalities throughout history and is based on A Room of One's Own by Virginia Woolf. To conclude, the DAT shows a high compatibility with the CLIL methodology and the ESoP approach is of great interest to work on transversal contents in the foreign language classroom.

This article explores Chinese filmmaker Qiu Jiongjiong’s documentary Madame (2010) and seeks to shed light on how the film portrays queer bodies in the peripheries of various sociocultural norms and structures in contemporary China. Qiu gives us a ‘Madame’ who works as a tailor, Fan Qihui, by day, and a cross-dressing performer, Bilang de Linphél. Whilst the film is assembled by eight scenes (echoing a theatre performance), three pivotal themes of Fan’s personal experiences in the margins are evoked in various parts of the documentary: first, beauty and sex, second, economic disenfranchisement and third, happiness. This article approaches these intersecting themes by focusing on how they mobilise processes of affective embodiment. As such, this article reveals how the film bridges an almost biographical portrayal of Fan’s past with the ways in which the body is affected by the lived experiences through the performance of Bilang on stage. By providing a reading of the film, alongside interviews with and articles about tailor Fan Qihui published online before and after their suicide in 2010, I aim to demonstrate how phenomenological accounts of bodily affect afford a valuable lens through which queer discourses on China can be probed. Analysis of bodily affect can be approached by looking at the bodily movement as well as the body’s tendency towards certain objects and objectives. Fan indeed orient themselves toward certain objects that assume queer meanings and objectives such as finding happiness through the various means afforded by one’s material conditions and bodily realities. In turn, these bodily tendencies call attention to how the body of Bilang and Fan can be seen not only as commentary on external forces and power, but also as a vessel of pivotal information on the very systemic and structural forces that affectively condition the body. Moreover, this essay sheds some light on how the body (of characters) in a film often bears valuable information for social and cultural analysis.

In the late 1970s, an emerging “sociology of culture” began by applying standard sociological methods to studies of the production and marketing of cultural artifacts – music, art, drama, and literature. By the late 1980s, the work of cultural sociologists had broken out of the study of cultureproducing institutions and moved toward studying the place of meaning in social life more generally. Feminism, which in the 1970s was concerned above all to document women’s experiences, has increasingly turned to analyzing the discursive production of gender difference. Since the mid-1980s the new quasi-discipline of cultural studies has grown explosively in a variety of different academic niches – for example, in programs or departments of film studies, literature, performance studies, or communications. In political science, which is well known for its propensity to chase headlines, interest in cultural questions has been revived by the recent prominence of religious fundamentalism, nationalism, and ethnicity, which look like the most potent sources of political conflict in the contemporary world. This frenetic rush to the study of culture has everywhere been bathed, to a greaterrespectively), and he argues that such an approach is not incompatible with the Geertzian notion of culture as a system of meanings. Sewell points out some shortcomings of the Geertzian approach in order to explain the rise of alternative conceptions which sought to couch culture more in the realm of the non-cognitive or habitual practices of our daily lives. Sewell insists there is nothing mutually exclusive about these approaches. This argument is one that readers should keep in mind when considering the later readings by both AbuLughod and Latham in Part One.

Feminist film scholarship has rehabilitated costume by correcting the view that it is a frivolous, feminized element of filmmaking, arguing instead that dress establishes historical and geographic context. Despite these interventions, little research has explored costume from non- Western cinemas, nor have scholars addressed how both the intersections of gender and race have influenced the ‘fashioning’ of onscreen subjectivities. These are not irrelevant considerations, given the historical link between the expansion of Western textile production and the extraction of resources from formerly colonised territories, particularly the African continent, which remains an attractive destination for cheap, often female manufacturing labour. My doctoral thesis brings these geopolitical and feminist concerns into interdisciplinary conversation with film studies, by taking up the complex imbrications of clothing, race and gender, and considering the unexamined possibilities that material culture presents for African postcolonial cinematic authorship. Comprised of analyses of the work of female filmmakers Claire Denis, Julie Dash, Wanuri Kahiu and Zina Saro-Wiwa, I argue that their richly haptic, textillic works highlight the filmic image as a materially ‘fashioned’ medium, through which African/Afro-diasporan peoples’ entanglements with globalized (neo)coloniality have been sensually remediated for the screen. Combatting the marginalization of African women in cinema studies, as well as the broader devaluation of women’s aesthetic practices, I demonstrate that the neglected cultural contributions of African/Afro-diasporic female filmmakers should be reconsidered, with an eye turned towards the highly politically expressive field of dress and its material cultures., Gates Cambridge Scholarship

Moving between film studies and historiography, Golbarg Rekabtalaei’s Iranian Cosmopolitanism: A Cinematic History is many things at once. It is a study of Iranian modernity through the lens of the...

Independent animation is a marginal media form in China, and studies describe how both Chinese artists and scholars of film studies have only started to practice or construct this genre and popular cinema since the 1990s, especially after the Shanke (Chinese Flash animators, 閃客) phenomenon. In this article, the existing discourse of independent animation in contemporary China is critically analyzed by studying mainly what is said and written by the local practitioners and scholars in China. The author’s analysis is based on the assumption that animation should be taken ‘as an art form’, which should be able to express itself freely without any external constraints or intervention by others. Hence, the focus should be placed on the ultimate purpose and meaning of art along with the form. Among the various types of discourses constructed by practitioners, the author argues that the discourse constructed by the contemporary Chinese art scene should be encouraged to keep the nature of independent works so as to give voice to true, personal and inner values, and expressions that are outside the institutionalized and dominating discourse or framework.

Disney films have a distinct way of always feeling in-time, a sensation the company understands and monetizes. A Goofy Movie (AGM) was released in 1995, and since its theatrical release, the film has continued to capture the hearts and minds of a cult audience of passionate fans. Among this array of fans is a core of Black millenials who hold the film in high regard due to its R&B soundtrack and relatable narrative. However, the moments of Black representation within the film are less interesting than how a Black reading becomes possible. What are the component parts of the film’s making when arranged in such a way that invokes an essential Black lifeworld? AGM affixes Blackness to its form not through any profound representation of race. Rather, considering its animators as technical performers, the dark history behind the American cartoon, and how Black music is used to not just make Blackness known but believable instantiate what Michael Gillespie terms, ‘film Blackness’ in Film Blackness: American Cinema and the Idea of Black Film (2016).

Die 1930er-Jahre gelten als das populistische Jahrzehnt Hollywoods. Regisseure wie Frank Capra, Leo McCarey und John Ford entwerfen in ihren Werken Szenarien geglückter oder gescheiterter politischer Repräsentation, in denen sich demokratische Ideale mit politischer Theologie und amerikanischem Exzeptionalismus verbinden. Die Szenographie dieser Filme hat sich tief in das kulturelle Gedächtnis der USA eingeschrieben und prägt die politische Inszenierung von Repräsentation bis heute. Johannes Pause liest die damals entstandene Bildsprache als eine Typologie populistischer Repräsentation neu und nutzt sie als Folie, um aktuelle politische Tendenzen zu analysieren.

[Introductory paragraph] In myth, women's boundaries are pliant, porous, mutable. Her power to control them is inadequate, her concern for them unreliable. Deformation attends her. She swells, she shrinks, she leaks, she is penetrated, she suffers metamorphoses. The women of mythology regularly lose their form in monstrosity. —Anne Carson, Men in the Off Hours Metamorphoses can be understood as “the action or process of changing in form, shape, or substance [and especially] transformation by supernatural means” (OED). Ovid’s Metamorphoses focuses on the changing of bodies to other physical forms, but Ovid’s tales of transformation have themselves been transformed into other literary and cultural forms. This paper will pull together different disciplines such as classical, literary, and film studies to examine Ovid’s “Orpheus and Eurydice” from the Metamorphoses, and the formalist and feminist adaptations of the tale by women about women: Alice Munro’s short story “The Children Stay” and Céline Sciamma’s film Portrait of a Lady on Fire. Munro and Sciamma give their female heroines the agency and voices they lacked in Ovid’s text, where there is a pattern of violence against women, who are silenced usually through some form of destructive transformations of their bodies.

Images of jumpers represent an emotionally charged symbol of 9/11, yet just after 9/11 their circulation was quickly and dramatically censored. Yet twenty years later, the 9/11 archive continues to...

El reconocimiento internacional de Néstor Almendros (1930-1992) como director de fotografía ha eclipsado, dentro de la historia convencional del cine, otras dos facetas fundamentales de su trayectoria: la de crítico cinematográfico y la de director de cine experimental y documental. Este artículo analiza las actividades profesionales de Almendros durante el comienzo de su carrera en Nueva York, entre 1957 y 1959, y estudia con detenimiento su producción como comisario (para el cineclub de Vassar College), como crítico (para Film Culture) y como director de cine experimental (con los cortometrajes de vanguardia, El monte de la luna y 58-59). A su vez, y a través de un estudio crítico de materiales de archivo inéditos, propone una nueva lectura de la obra de Almendros que tiene en cuenta su carácter multidisciplinar y resitúa al cineasta como una de las figuras principales del cine español en el exilio.

Este artigo pretende levantar alguns interrogantes acerca da análise de filmes na perspectiva dos gêneros cinematográficos e audiovisuais, levando em conta a história dos gêneros literários e esforços predecessores de teorização, tanto no âmbito dos estudos literários, quanto no dos estudos cinematográficos. O objetivo é repensar alguns procedimentos de uso corrente no âmbito dos estudos de gêneros cinematográficos e audiovisuais, bem como alguns gêneros controvertidos, tentando religar pontos que conectam os estudos de cinema a outros campos do saber. Para tal, serão revisitados os pensamentos de autores como Platão, Arisóteles, Friedrich Schiller, Charles Morris, Tzvetan Todorov, John Frow, Rick Altman e Nathalie Denizot, entre outros.

This article explores the state of affairs in Zimbabwe’s film industry. It addresses the question: does a Zimbabwean film industry exist? The complex answer depends on at least two parameters. The first is one’s chosen definition of a film industry. The second is the extent of one’s knowledge of realities on the ground. The article argues that the Zimbabwean film industry, like most in Africa, is necessarily a work in progress. That is, it is constantly adapting to social, political and economic conditions in the search for a sustainable model or growth. Since 1980, the industry has been in a prolonged search for itself. A general feature has been the search for ways with which to replace thirty-year old colonial heritages of filmmaking, distribution and exhibition. Today what was traditionally a minority activity is becoming open to broader participation. The future, though, remains an unknown x. Funding, distribution and profitability are still sore points. For the first time, however, what seem like true foundations are being laid.

This is the fourteenth issue of Language Value, the journal created by the Department of English Studies at Universitat Jaume I (UJI) over 12 years ago. Since its beginning, the journal has grown and progressed, and, at this moment, it is already indexed and recognised internationally. In this evolution, many persons have left their imprint, some of them from the department that devised this journal. One of these persons was Raquel Segovia Martín, who unfortunately left us one year ago. Raquel arrived at Universitat Jaume I from the University of Pittsburgh (USA), where she had obtained her PhD degree in Languages and Film Studies and taught Spanish language and culture courses. Since very young, she had been interested in the Spanish language: she had finished her bachelor’s degree in Hispanic Philology at the Universidad Autónoma de Madrid. However, she saw an opportunity to adapt her profile and to participate in the new project of Universitat Jaume I in 1994, once she had decided to come back to Spain. At this university, she could combine her knowledge of Spanish and English in translation courses and add to it her expertise in film and communication studies. She was a good teacher and a good colleague who left us much too soon. This volume is in memorial of Raquel Segovia Martín, and the articles included in it are all related to her profile: translation, cinema and communication.

This article proposes that Tom O’Regan’s Australian National Cinema book is best understood among the contexts from which it emerged and, in this process, repositions the magnum opus of his scholarly career, as a post-national theorising of the national cinema formation in terms of ‘an unprincipled assemblage’ and a discursive multiplicity.

Will humankind ever be able to live underwater? To answer this question from the perspective of visual media studies, I analyze narrative and expressive means used for positive representation of underwater experiences in several examples of screen media. My examples are principally different by origin and yet united by their highly enjoyable effect of immersion into underwater worlds. My primary focus is on Amphibian Man (1928), a cult early science fiction novel by Alexandr Belyaev adapted for screen in 1962 in the USSR.I also explore its unintentionally close contemporary reproduction in The Shape of Water (2016), which even led to accusations in plagiarism. The third example is a contemporary independent video game ABZU by Giant Squid (2016), which replays the same theme of amphibian human existence in a positive light. These cases present a surprisingly rare view of a safe, friendly and interactive marine world, approached by the protagonist who can breathe underwater. I apply the posthumanist lens to find out that, surprisingly, aquatic cyborgs seem to be underrated by the queer thought (Haraway, 2015, 2016); I conclude that the model of ‘queer ecologies’ may become the needed development.

This issue of CINEJ Cinema Journal observed the slow recovery from the destructive effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. One development that is on the agenda is diversity and inclusion in film industry, film education and film studies/criticism as institution. The diversity of film sets has been voiced and is gaining momentum at creative top of the line levels of director, producer and screenwriters Still obstacles remain for those who want to move from entry to mid-level both in film industry as creatives and for academics who want to enter white dominated academia.

Geri-action as a term within film studies describes a subgenre of action cinema in which, largely though not exclusively, men in their middle ages partake in narratives of action and spectacle, whi...

The aim of this paper is to raise questions about how cinema can allow us to rethink our relationship with the environment in the context of what is known today as the Anthropocene. In the discussion, I chart the current debates about the ecological in the humanities, with a particular focus on new materialisms, to argue that cinema can be fruitfully thought of as part of what anthropologist Anna Tsing (2015) calls the “arts of noticing”. I then turn to a consideration of the potential influx of affect theories on ecocriticism and film studies, before sketching out possible approaches to studying film from an affective, new materialist and postanthropocentric perspective. These approaches might have wider implications for rhetorical perspectives on cinema, especially for those investigating emotional appeals.

The basis of this article is the consideration of the topic of apocalyptics and post-apocalyptics in Kazakh cinema. This article is extremely relevant to the consideration of apocalyptic topics that take place within the framework of local environmental problems and man-made disasters, and in this case the word "Ecology" is interpreted broadly. Apocalyptic and post-apocalyptic cinema is directly related to environmental difficulties, and environmental and man-made disasters - which cause the collapse of an entire ecosystem, the human race, or a huge part of it - are one of the most common scenarios in such movies. The most serious threat to all of humanity and the modern world is the reality of global environmental problems. Kazakhstan, like other countries, is experiencing a severe environmental crisis, and the issues of their solution are embedded in the global situation. This research is based on the materials of the national cinematographic art of the Republic of Kazakhstan, America, the USSR, and European and Asian countries, including early cinema as well as the modern periods of development. The methodological basis of the article consists of theoretical, visual, film and comparative analysis. Many regions of Central Asia, especially Kazakhstan, remain environmentally unstable, but to date, these issues have not become important topics of Kazakh cinema. In world cinema, the apocalyptic genre is classified into groups and subgenres. Also, world cinematographers have extensive experience in film production in this genre. Classic cinema plots on the theme of the end of the world include the destruction of the planet's ecology and worldwide and local man-made and natural disasters, all of which belongs to the elements of the apocalypse genre. In Kazakh film studies, the apocalypse or the end of the world remains an unexplored topic. Therefore, this topic needs to be deepened from the point of view of cinema. In the article we consider Kazakh films with elements of the apocalyptic genre; however, in comparison with global cinema, the theme is reflected narrowly with elements of degraded ecology.

The i360 Virtual Museum Tour was developed as a facilitator for Topic 5 Mise-en-Scene and Semiotic Elements in the module DVV3013 Film Studies at the Department of Design and Visual Communication, Tuanku Syed Sirajuddin Polytechnic, Perlis. In terms of location selection, costumes, makeup, lighting, and actor expression, these Mise-en-scene elements include the function of a scene in the film to explain something or give a dramatic effect to the audience. This application displays the Malaysian race through the Iconography element Mise-en-scene of the background, costumes, and props highlighted as part of the Malay sultanate concept before. It was developed using a 360 camera as well as 3D vista software for editing purposes. Exploring this museum involves four main aspects, namely information related to learning at the Kedah State Museum and the Kedah Royal Museum and the quiz elements as an assessment. Design Thinking Process (Empathies, Define, Ideate, Prototype and Test) is used as a methodology for design and development process. Thirty-five diploma students (51.4% men, 48.6% of women) responded to the questionnaire. Based on analysis data shown this application is beneficial to know and recognize the elements of Mise-en-Scene the higher-level percentage of 93.0%.

India has long been known for its prestigious Mumbai-based film industry, namely Bollywood, and remains by far the largest producer of films in the world. With the growing global reach of Indian cinema, this study looks at an intriguing Indian-film fever over the last decade in the newly discovered market of China. Through examining key factors that make Indian films appealing to Chinese and exploring the opportunities and challenges of Indian cinema in China, this article draws upon insights gained from the narratives of local audiences. Data were collected from semi-structured interviews with 32 Indian-film audiences residing across 14 different cities in mainland China. Thematic analysis identified the following five appealing factors, which explain why the Chinese enjoy Indian films: content-driven story, social values, star power, audience reviews and cultural connections. While a comprehensive list of opportunities was derived showing the potential future of Bollywood in China, results found that China’s unique institutional context and an ongoing India–China geopolitical tensions also present challenges, which in turn add to the overall complexity of films’ success in the Chinese market. This article argues the powerful role of Bollywood in bridging cultures and improving India–China ties, as Indian films have made Chinese people more aware of India in a favourable way.

This article analyses three aspects of human and robotic eyes: (1) the eye as an object that evokes visceral reactions from observers when it is exposed or threatened; (2) the eye and brain, sensor and computer as mediators of vision and interpreters of visual worlds; and (3) the gaze as a mode of communication in interpersonal/human–robot interaction. Taking an interdisciplinary approach, this article draws on neuroscience, human–robot interaction, critical humanities, feminism and film studies to interrogate these three aspects of eyes as they relate to the design, theorisation and experience of social robots. We argue that some of the meanings and imaginaries associated with biological eyes are transferred and translated into robotic eyes, vision and gaze, or eye machines, following the tendency towards anthropomorphism. These imaginaries are made visible particularly in science fiction. We argue that photography, the cinematic apparatus, digital sensors and artificial intelligence are not only engineering innovations but have also contributed to transformations in the contemporary collective visual world. Our multimethod cultural studies analysis of eye machines has relevance for cultural theorists, designers and engineers.

This article explores what it means to feel film. It does so through an exploration of the interconnections between Bergson, Deleuze, and Jung. Central to the argument is the ontological status of the image in these different philosophical and psychological traditions. In particular, image is seen as an encapsulation of coming into being, or what Bergson terms durée. To feel film is to engage with its therapeutic capacity to bring us into being. In the consulting room and in the cinema, this process is embodied and in some way created either between client and therapist or viewer and screen. The elusive present moment is the site at which the past permeates the present, creating as it does feeling toned entry into the process of becoming. Jung thought of this as central to individuation and Bergson as central to being. Feeling film from this perspective becomes a way of finding ourselves in both the world of the film and in our individual psyche.

This paper is anchored on the use of Theatre for Development (TfD) as a restructuring mechanism and strategy for sustainable growth and development. However, there is no gainsaying that within the academic environment that irregularity abound especially arising from misconducts like: sexual harassment, buying of grades, flirting with lecturers, victimization and indecent dressing. The TfD pilot project executed in the year 2017 by the students of Theatre and Media Arts, Department of Theatre and Film Studies, University of Port-Harcourt Rivers State, has been carefully reviewed to show the potency of performance arts (TfD) as a restructuring mechanism for development. This paper adopts the analytical research method and the TfD official eye approach. The finding reveals that Theatre for Development (TfD) is a grass root mobilization and concientization mechanism for sustainable growth and development especially as it relates to the recent trend in the academic communities. Keywords: Theatre for Development, Performance, Mass Mobilization

Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity

This article is an intervention in a debate within film studies over the concept of the “gaze”. Under the influence of 1960s and 1970s “apparatus” theory and particularly feminist thinkers of film ...

Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992) As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.

Because of the impact of the COVID-19 pandemic on higher education, online initiatives have moved from the periphery to the very heart of teaching and learning across disciplines. However, the profession has just begun to consider the full impact these new technologies have on the way we research and teach Chinese-language cinema. Using the Massive Open Online Course (MOOC) and University of Hong Kong Common Core campus-based course, Hong Kong Cinema through a Global Lens, as my principal case study, I explore some of the ways in which the digital revolution has transformed research on and teaching about Hong Kong film. From surveying the types of material available for research to exploring the differences between MOOCs and flipped classrooms, this essay considers the positive implications and potential drawbacks of these new technologies in global, regional, and local educational contexts.

This article examines Yorgos Lanthimos’ 2015 film The Lobster in relation to debates about intimate politics in contemporary queer scholarship and queer cinema studies. Rather than reading the film as a satire on compulsory coupling, this article teases out the film’s depiction of both normative and antinormative practices as parallel forms of sexual citizenship. Examining the relationship between normative enactments of gender and sexuality and the regulation of the species boundary, we argue that The Lobster reveals three dichotomies at the core of heteronormative cultural mythologies: male and female, coupled and uncoupled, human and nonhuman. In examining the complex interplay between these categories throughout The Lobster, this article foregrounds the important intersections between critical approaches to normativity established within feminist and queer film studies, and emergent approaches to nonhuman and more-than-human ethics in the environmental humanities.

Despite the recent upsurge of interest in automobility as a vital area of research, there are no accounts on how it links to the road movie and its derivatives in avant-garde and experimental filmm...

This article provides a personal and anecdotal reflection on the question of a future for Australian studies. It briefly recounts the history and signification of the interdisciplinary descriptor “...

For the first time in Ukrainian film studies, the integration of the professions of producer and director has been systematically studied, which makes it possible to once again confirm the creative nature of production activities. It is established that the integration of the professions of producer and director reflects the processes that are observed in cinema as a whole and are caused by changestaking place in society. It is proved that these factors give new works and features to the work of filmmakers, expand the range of their activities, removing the contradictions both between specific film professions and between mass and auteur cinema.

This thesis seeks to attend to modes of trans relationality in cinema. Recent scholarship, most notably by Eliza Steinbock and Cáel M. Keegan, has pictured cinema as a privileged medium for diversifying the range of trans-related effects and affects available to film audiences, exploring how trans embodiments and cinema might share a liberatory capacity to transform modes of perceiving and experiencing. My study offers an alternative angle of approach, asking how trans has become associated with the capacity to transform. I turn to trans studies genealogies of how trans embodiments have been instrumentalized as metaphors for mutability, mouldability, or interchangeability. In particular, I follow Jules Gill-Peterson’s and C. Riley Snorton’s tracings of this tendency through histories of racialization. One strand of this thesis approaches cinema as a medium that abstracts and instrumentalizes trans experiences, shaped by these histories. A complementing strand argues that such abstractions cleave imperfectly to the lived complexity of trans experience, leaving room for manoeuvre and offering measures of opacity. Reading for opacity, I propose, offers ways to read for forms of trans relationality that persist in excess of the abstractions that have put trans towards other purposes. In chapter one, I trace and interrogate themes of isolation, irreversibility, and impossibility through Rainer Werner Fassbinder’s In a Year of 13 Moons. I put 13 Moons in conversation with a series of Christer Strömholm’s photographs and Sébastien Lifshitz’s film Bambi. The transfeminine desires and intimacies documented in these artworks offer a fresh perspective on the forms of negativity and relationality associated with 13 Moons. Chapter two focuses on sites of convergence between Black and trans in British cinema, surveying films by Derek Jarman, Sankofa, and Neil Jordan, and artworks by Travis Alabanza and Danielle Brathwaite-Shirley. Through this archive, I follow fugitive practices of Black and trans kinship transecting conditions of fungibility. In chapter three, I connect histories of trans children to readings of three films: Tomboy (Céline Sciamma), Little Girl (Lifshitz) and She Male Snails (Ester Martin Bergsmark), asking how trans children are alienated from their agency and instrumentalized as figures for development, plasticity, innocence, and futurity. I consider, however, how these films also make it possible to partially glimpse the force of trans children’s expressivity through the distorting abstractions they are asked to bear.

This is the abstract of our long paper presentation at DH Benelux 2022. Drawing from the history of theatre and cinema, we present theoretical research on multi-modal data representations, such assonifications, edibilizations, olfactations, and physicalizations. We contribute to digital humanities by translatingmontage of attraction to multimodal data representation and reflect onhow the careful combination of modal variables can contribute to the coherence and emotional impact of multimodal interfaces.

COVID-19 and its related disruptions have revealed significant imbalances of power and inequitable social practices. In the American film and television industry, these disruptions have led to the formation of a critical juncture - a period of time in which previously held institutions, social rituals, and norms of practice are pressured to the point of collapse. This critical juncture has led to a reevaluation of labor practices for both above and below-the-line workers in Hollywood, as illustrated by two majorly publicized events: actress Scarlett Johansson’s lawsuit against the Walt Disney Company and major union IATSE’s nearly averted worker strike. I use these events and their ensuing industry press coverage as case studies, wherein I employ critical and historical discourse analysis to demonstrate that both cases are emblematic of a wider shift within Hollywood: reclamation of creative worker autonomy and freedom from corporate studio producers. I conclude that both case studies, while possessing comparable historical antecedents, are historically unique as they were both directly induced by COVID-19 disruptions. In this way the COVID pandemic has acted as a catalyzing force, quickly accelerating already existent trends within Hollywood’s established norms and practices.

Reception studies is an important trend in contemporary film studies, especially in the current situation, which is characterised by media convergence and audience differentiation. One area of such...

The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

Alternatives of Languages and Worlds: Multilingualism as Critique of Ideology in Contrafactual Fiction by Quentin Tarantino and Christian Kracht. Multilingualism and the alternate history genre have something in common: both phenomena are based on the construction of alternatives, in the case of multilingualism on the alternatives between different languages and communication systems, and in the case of the alternate history genre on the alternatives between real-world facts and the variation thereof within fictional worlds. This article investigates the interconnections between these two forms of thinking in alternatives by looking specifically at Quentin Tarantino’s counterfactual war film Inglourious Basterds (2009) and Christian Kracht’s alternate history novel Ich werde hier sein im Sonnenschein und im Schatten (2008). I argue that the consideration of language alternatives forms part of the meta-reflection of the alternate history genre in these works while at the same time opening up a political perspective: in Tarantino’s film and Kracht’s novel, multilingualism serves as a means for the critique of ideology by rendering palpable the political threats of a worldview based on clear-cut alternatives. In the article’s final section, I plead for the establishment of stronger links between the research on literary multilingualism and the theory of fiction.

Japanese film studies is an academic discipline and research community focusing on the multifaceted aspects of Japanese cinema. Deeply interdisciplinary, it employs theories, critical approaches and methods from different fields such as film studies and cultural studies to understand Japanese films as works of art, cultural products and social practices. What makes a film “Japanese”, and even what is a film, are far from easy questions, particularly in the globalised, transnational and digitalised world in which we now live, but nevertheless are issues that define the disciple and its historiography. Yomota Inuhiko puts it simply in [...]

This issue of CINEJ Cinema Journal witnessed the devastating effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. Global shifts in production and distribution gave rise to new stars, streaming services. The diversity of film sets was gaining momentum as film productions were halted. New reports and new investment for the future of filmmaking are at stake at this juncture. As the year closed there have losses like Fernando Solanas and Sean Connery.

This article examines the term ‘World Cinema’ by comparing it to ‘world literature’, as understood by two German thinkers of the Romantic period: Johann Wolfgang von Goethe and Karl Marx, who attributed universal appeal to it. It argues that World cinema, like world literature, testifies to the unequal distribution of economic and cultural power. World Cinema refers to cinemas of peripheries, cinematic production of ‘developing’ or Third World countries or non-Hollywood. Moreover, it does not encompass everything which is produced in the peripheries, but only that part, which lends itself to the gaze of (broadly understood) western scholars. Inevitably, such gaze privileges ‘canonical works’, which have already received national recognition and which due to their subjects, forms or ideologies, align themselves with the production in the centre. However, there are also films created in the peripheries which transcended national boundaries despite being openly local and even hostile to the idea of competing with other films on the global market, especially films made in Hollywood or modelled on Hollywood, such as Third Cinema, whose analysis concludes the discussion.

This article surveys some of the major criticisms of mirror neuron explanations of human behavior within neuroscience and philosophy of mind. It then shows how these criticisms pertain to the recent application of mirror neuron research to account for some of our responses to movies, particularly our empathic response to film characters and our putative simulation of anthropomorphic camera movements. It focuses especially on the “egocentric” conception of the film viewer that mirror neuron research appears to license. In doing so, it develops a position called “serious pessimism” about the potential contribution of neuroscience to the study of film and art by building upon the “moderate pessimism” recently proposed by philosopher David Davies. It also offers some methodological recommendations for how film scholars should engage with the sciences.

What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series at Palgrave Macmillan (edited by Nezar Andary and Samirah Alkassim). Waleed Mahdi's Arab Americans in Film (2020) and Peter Limbrick's Arab Modernism as World Cinema: The Films of Moumen Smihi (2020) consolidate these exchanges across ethnic studies, area studies, political sciences, (art) history, and film and media studies. While Mahdi primarily positions himself from within ethnic studies and Limbrick is first a film scholar, both have published in reference journals in film studies, Middle East studies, and cultural studies.

Recent popular music and film studies have revealed the political functions of documentaries about musicians. These studies suggest that such documentaries make powerful interventions into the field of music production as they construct the value of their subjects and their work. Owing to the expense and complexity of broadcast equipment, production companies have tended to favour documentaries about artists and work considered to be popular and historically significant. Over the past 15 years, however, new technologies have allowed musicians to make documentaries themselves, which they can release at the same time as their song or album. Using the example of Gotye and his album Making Mirrors, this article argues that these developments have led to powerful and distinct interventions into debates and themes within home music production for independent musicians. It also argues that the use of this technology on social media platforms challenges the relationships between text and process.