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The article discusses the ethical complexities of adapting true crime journalistic accounts to biographical films, with a focus on issues of sexuality. Topics include the manipulation of truth for entertainment value, the impact on trust and relationships in the adaptation process, and the portrayal of sexuality in film. The analysis highlights the tension between authenticity and sensationalism in cinematic storytelling.

The article discusses the role of controversial media, particularly in cinema, in shaping religious sentiments, uniting and mobilizing Hindus, and contributing to the rise of Hindu nationalism (Hindutva) in India. Topics include the impact of new-age media, historical memories, and socio-political factors on the propagation of Hindu nationalist ideologies and the socio-cultural transformations driven by digital platforms.

This special issue responds to the current discourse on cinema and education from a philosophical point of view. Considering the fact that young people worldwide are watching films and series via their smartphones or personal computers, we here explore the educative aspects of this popular activity. Does this wide-ranging habit mis-educate the next generation? Or does cinema carry a potential for ethical-political education, parallel to the ancient Greek tragedies and the modernist Bildungsroman? The authors of this special issue deliberate this question by exploring the intersection between cinema and philosophy and the potential powers of cinematic education. [ABSTRACT FROM AUTHOR]

The article discusses how with his 2002 film 'Western Deep,' the British video artist Steve McQueen inviting audiences to visit the world's deepest mine, outside the city of Johannesburg in South Africa. The film shows challenges faced by African miners in the mine, who worked there barefoot and stripped down to standard-issue shorts, stepping on and off a raised platform in time to an ear-splitting metronome.

The article focuses on exploring the tension toward immediacy within a media genealogy, particularly in the cinematographic reuse of audiovisual materials initially broadcast on live-streaming platforms. Topics include the examination of how cinema reveals the "opacity of transparency" and the extent to which the logic of capture disrupts the performance of real-time surveillance and sousveillance, while perpetuating a shareveillance logic.

This study conducts a critical examination of leadership behaviour practices in a selection of film adaptations of the Robin Hood legend. This paper extends traditional efforts with theorizing leadership beyond leaders and their followers to consider acted performance exhibitions of leadership through cultural artefacts. The theory of dramatism was used to consider the portrayal of leadership behaviours of the title character in six Robin Hood films released over the years 1922–2018. A coding scheme using the GLOBE study six global leadership dimensions and associated 21 primary leadership behaviours were used to examine the action and dialogue of acted behaviours in each scene in each film. The results showed that the Robin Hood character most frequently presented a charismatic/value-based leadership style across all films. The results are discussed in terms of the ability of film to explore issues of leadership with results highlighting how leadership traits and behaviours of traditional cultural legends evolve and are adapted to modern audiences. This study contributes to ongoing investigations of analysis of leadership from an HRD theory and practice lens as represented in cultural artefacts such as film. [ABSTRACT FROM AUTHOR]

The article discusses the status of the U.S. cowboy in Americans' psychology and popular culture, including in regard to their depiction in American Western films. An overview of the perception of the history of the U.S. West in American popular culture, including in pulp fiction written by American authors from the Eastern U.S., is provided. The author often references his attitude towards cowboys throughout his life, including in regard to his horses and horseback riding.

The article explores the social problem of violence in the U.S. and the influence of Western films on public attitudes about firearms and social order. Emphasis is given to topics such as the constitutional right to bear arms, a comparison between the Wild West and prerevolutionary Georgia in the Russian Empire, and the myth of the gunfighter as portrayed by actors such as John Wayne.

In this performative co-interview, the unicorn (Tejal Shah) and the larva (Anuj Vaidya) reflect on their artistic practice, and the trajectory of their work from addressing issues of queer sexuality to those of queer ecology. Anuj and Tejal met at the School of the Art Institute of Chicago, where they collaborated on Chingari chumma (Stinging Kiss, 2000)--a short video that turns a cliched Bollywood ending into a queer fairy-tale phantasy--as an experiment in post-pornography. In this conversation, the artists reflect on the beginnings of their collaboration, giving special attention to their process, their shared love for drag and camp, and to the complicated reception to their work. While Tejal returned to India soon after, the pair continued to remain in conversation over the decades, even as their own practices meandered into questions of gender performance, nation-state politics, activism, and eventually into concerns about the environment and the nonhuman. In their most recent works, the artists confront the legacy of human exceptionalism and invoke the forgotten wisdom of interspecies dependence and desire as a way through the sixth extinction. Will we emerge on the other side? They dare not hope, but they do dare to wonder. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Ilahiyat Researches / Ilahiyat Tetkikleri Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article traces the introduction of cinema to the Gulf through the archives of the India Office Records (IOR). The records of the political agent in Bahrain illustrate clearly the extent to which cinema was closely monitored and regulated by the British colonial network of administrative functions in the Persian Gulf, India, and England. Following the discovery of oil in 1932, hydrocarbon modernity gave rise to new spaces of urban culture, most prominently cinema. But in the oil cities of the Gulf, film spectatorship in its early years was refracted through three spheres of moving-image culture: private, corporate-sponsored, and commercial public cinemas. What was common to these three spheres was a certain logic of exclusion and restricted access norms. Administrators in the Gulf looked to how cinema was handled in India for models and ideas to create actual policies on the ground. The bureaucratic traffic over the case of early public cinema petitions in Bahrain shows how regulatory practices and norms of governance over cinematic spheres circulated from one colonial context (South Asia) to another (the Gulf). The core political issue of the emergence of a cinema culture in the Gulf was the restriction of cinematic medium and space to certain populations. As such, regulating cinema was linked to the question of managing the social forces of hydrocarbon modernity that the discovery of oil unleashed. The arrival of cinema in the Gulf took place in an exclusionary and uneven world, entangled with circulations of colonial practices, regimes of segregation, expansionist oil capital, international labor, and film cans. [ABSTRACT FROM AUTHOR]

The range of films dealing with later age has increased enormously over the past 50 years; just like the variety of elderly people’s lifestyles. The article examines this film corpus offering numerous examples with regard to prominent topics and motives - such as changing social relationships and partnerships, opening up new liveworlds or dealing with personal sexuality - and gives a look behind the supposed limits and linearities of common age categories. [ABSTRACT FROM AUTHOR]

The article examines the texts and contexts of the Hollywood 1956 film "Teahouse of the August Moon" as a collaborative project between Japan and he U.S. Topics covered include the production, narrative content and reception of the Metro-Goldwyn-Mayer (MGM)-produced film in the two countries, the goals and actions of diverse agents, such as studios, and the wider influence of the film on both sides of the Pacific. The three larger contributions to the study of America in the world that the study of the film will yield is also discussed.

This article looks at the Hollywood "blockbuster" movie The Blind Side (2009) to explore intersections of race, class, and gender in a significant neoliberal, cultural commodity. Animating the production and, apparently, the consumption of the film is the "inspiring" story of Michael Oher, an impoverished young African American man who was adopted by a wealthy white family and rose to success in the National Football League in the United States. The film mobilizes postracial and postfeminist discourses to tell a story of redemption and how private charity can overcome social problems that the state cannot. Ultimately, charity operates as a signifying act of whiteness that obscures the social relations of domination that not only make charity possible but also creates an urban underclass in need of charity. [ABSTRACT FROM AUTHOR]

This review of three introductory textbooks in the field of popular culture published in 2018 and 2019 focuses on the different perspectives they provide on such culture, as a means for understanding its current state and future evolution. It is divided into six sections: 1. Introduction; 2. Pop Culture, People, and Politics; 3. A Pastiche Approach to Cinema; 4. Pop Culture Theories; 5. Pop Culture and the Internet; 6. Conclusion. Pop culture is changing radically today, breaking away from the historical flow that gained momentum in then 1920s, because its delivery through the Internet may be fragmenting its organic textuality. As a distinct form of culture, pop culture crystallized primarily in the US in the first decades of the twentieth century, arguably as a way for young people to contest and openly violate the restrictive social traditions of colonial America through new music, fashions, and overall lifestyles. It spread rapidly and broadly throughout American cities and other areas of the urbanized world—a diffusion made possible by new technologies, such as radio and cinema. From the outset, trends in pop culture influenced aesthetic tastes, politics, and even major musical and literary movements that were once considered to be part of 'high culture', gradually obliterating binary distinctions such as high-versus-low in cultural matters. In a phrase, what started out as a lifestyle reaction against puritanical colonial culture became a major source of new aesthetics (new music, new writing, and so on), remaining so ever since. But pop culture may have run its course with the rise of meme culture on the Internet. The books under review here are thus quite significant, not only because they present complementary views of pop culture to a broad audience, but also because we can draw from them a picture of how pop culture is evolving in the digital age and what this might imply for the future of this century-old cultural experiment. [ABSTRACT FROM AUTHOR]

Michael Haneke’s 2005 film Caché uses the police massacre of North African demonstrators that took place in Paris on 17 October 1961 as an allegory of national guilt. This article considers the ethical stakes of this formal move, arguing that the problem of concealment at the heart of the film’s narrative is also the reason why the 1961 massacre does not ‘work’ as an allegory. In this failure, Caché reveals a dilemma unique to traumatic histories that have escaped widespread recognition: the tension between the absence of collective memory and the potentially reparative capacities of elliptical representation. [ABSTRACT FROM AUTHOR]

The article examines the film, recommender systems, and cultural mediation. It mentions that telegraph, telephone, cinema, radio, broadcast television, or cable television, has inspired magical thinking and anxious moral panics about its supposed influence on users’ lives and the body politic; and impact of the shrill voices of utopia and apocalypse.

Filmmakers' reputations rise, fall, and reach different audiences due to a range of interrelated factors, which include interpersonal reputational networks that form during their lifetime, and may or may not expand after their death. The decline in Paul Rotha's reputation, from widespread acknowledgment of his role as a leading British documentary filmmaker during the 1940s to an overlooked figure now, apart from some limited academic interest, is a case in point. This essay traces the multiple factors—social, cultural, and individual—that need to be considered to fully assess the rise and fall of filmmakers' reputations. [ABSTRACT FROM AUTHOR]

This essay examines the bedsheet as a historic screen technology while tracing the cultural discourses that emerge from and around the bedsheet as both a cinematic and cultural object. The history of the bedsheet screen reveals origin stories of moving-image exhibition and illuminates the entwined histories of US cinema and race. In its examination of the sheet-screen across a range of moving-image practices and representations in popular and industry discourse, this essay foregrounds the materiality of the screen and its relationship to nontheatrical exhibition sites, segregationist practices, and the social significance of the screen. [ABSTRACT FROM AUTHOR]

This paper examines the recognition of domestic political reality in Marvel Cinematic Universe (MCU) with the introduction of a black character in "Black Panther." Topics covered include imaginary exploration of an African world in "Black Panther," factors shaping the sociopolitical identity of the MCU, and presentation of the geopolitical signals from the Cold War to anti-terror campaign for movie audiences through the textual links and synthetic storylines of the MCU.

Despite being labelled 'the Citizen Kane of bad films' upon its release, The Room (2003) and its enigmatic director/writer/star Tommy Wiseau have gained a cult following worldwide. This article examines how reception of The Room and of Wiseau has evolved as a result of paratexts claiming to expose the truth behind the film's production and the Wiseau persona. While The Room has gained a cult following centred upon participatory cinema screenings, the film's lifespan has been sustained by paratexts promising to expose the authentic nature of the film and Wiseau. By examining both The Room and the Wiseau persona, the way paratexts have helped 'renovate' their images can be observed, giving them a 'second life' of devoted cult followers. The Room continues to draw fans in cinemas worldwide; and this success has brought Wiseau the fame he openly courts. The article proposes that the desire of the audience to uncover the authentic Wiseau is an integral part of the cultification of The Room. Ultimately, I contend that the paratexts which have developed around the production and reception of The Room have served to reinforce the film's cult status, and that the mystery of Wiseau's 'true' persona is central to the ongoing cultification of the film. [ABSTRACT FROM AUTHOR]

The need for social as well as academic impact in social science research is now well established. Art is increasingly being explored as a means of generating social impact, most commonly as a way to engage publics with research findings, but to date with little exploration of the process of engagement itself. In this study, we set out to explore the power of art to engage the public. We do this by examining the 'affective' experience of engagement through a qualitative investigation using one-to-one interviews and a modified visual matrix exercise. In this article we report on the findings from our analysis of the affective experience of watching a film series, and through this discuss the use of film to communicate research findings and value of a novel qualitative psychosocial methodology for exploring the process of public engagement. [ABSTRACT FROM AUTHOR]

The article discusses the relation between films and disability, addressing the career of film director Stephen Dwoskin. Topics include the portrayal of people with disabilities in films, portrayals of people with disabilities asking to be killed, and the notion of inspiration from the cure of disability. The notion of authenticity is addressed.

The article discusses the relation between media and the environment in relation to notions such as environmentalist media. Topics include the concept of media ecologies in relation to politics, the relation of film to social movements and social change, and the notion of the future in relation to film. The idea of extractive capitalism is addressed.

The article reports on the growth and development of audience research in the motion picture industry. The four primary areas of research include content analysis, audience analysis, response analysis and analysis of social control. A list of the social values of motion pictures is provided; it incorporates the cultural and sociological aspects in films. The use of box office receipts is discussed among other methods for measuring audience characteristics. Several audience data collection methods for market researchers are described, including standing outside the theater and conducting interviews.

Representations of the individual, family and collective groups within New Romanian Cinema reveal the nation's social, political and psychological transformations, as well as its values and beliefs in times of intense transition. Focusing on Behind the Hills (Cristian Mungiu, 2012) and Sieranevada (Cristi Puiu, 2016), this article analyses the new cinema's dual position (apolitical yet engaged) and reflection on such aspects as religion, ideology and globalization; it emphasizes mechanisms of identity (trans)formation, the shaping of global citizenship and the shifts in public discourses, such as film, to continue to engage individuals and groups in social debate and events. [ABSTRACT FROM AUTHOR]

This article assesses the impact of television ownership on cinema attendance in post-war Northern Ireland. It downplays a monocausal relationship between cinema and television, and emphasises the range of social, economic and political factors that led to cinema closures. While the coronation of Queen Elizabeth II acted as a catalyst for television ownership, it did not fundamentally alter patterns of cinema attendance. This research counters claims that cinema exhibitors were unresponsive to population shifts and examines the relatively large number of cinemas that opened in Northern Ireland in the 1950s. It then examines the impact of commercial television and documents the reasons for cinema closures in Northern Ireland’s two largest cities: Belfast and Derry. [ABSTRACT FROM AUTHOR]

The article explores depictions of disability in the universe of "Star Wars." Particular focus is given to the popularity and influence of this film series, created by filmmaker and artist George Lucas. Additional topics discussed include characters with disabilities in the series including Darth Vader and Chirrut Îmwe, how science fiction is often considered social commentary and technological remedies to disability.

The article focuses on the history of CinemaScope in 1950s. It mentions about how the style of Classical Hollywood cinema was the result of particular production conditions, sociocultural, political, and economic events; and films such as "The Silver Chalice," "East of Eden," and "How to Marry a Millionaire."

The movie awards for 2018 were dominated by works by and about marginalized people who are underrepresented in contemporary movies. The movies use established forms of superficial, sensational, and escapist movie-making. The conventions of these "eye candy" forms contradict and undermine the serious adult significance of the works, in obedience to the commercial demands of the movie industry. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses what is referred to as auteur apologism, which is the apologies made for male U.S. film directors for their sexual abuse of women, due to the esteem given attributed to the films they created. The context of the MeToo Movement, resulting from allegations of sexual abuse by film producer Harvey Weinstein, is discussed. An overview of attitudes in the U.S. film industry towards the sexual abuse by film directors Roman Polanski and Woody Allen is provided.

The article focuses on the impact of films on society, and cinephobia in early film culture. It mentions that under suspicion was not simply film's inclination towards graphic content, violent narratives or even its suggestiveness, the idea that film was spreading a moral evil and required severe censorship at the hands of public authorities was just one part of the picture. It also mentions about the mechanical nature of film images.

A personal narrative is presented which explores the author's experience of the effects of the film "The Sound of Music" on his family's culture and to his personal and professional development.

Recent public backlash about diversity in the scripted U.S. entertainment industry has been reflected under the viral #OscarsSoWhite hashtag. Despite the heightened importance of contemporary independent documentary films as reflections of social justice challenges, the #OscarsSoWhite scrutiny has ignored nonfiction storytelling. Using content analysis, this study examined the first decade of Oscar-shortlisted documentary feature films (N = 150) distributed in the streaming digital era (2008-2017) to assess racial, ethnic, and gender diversity among credited directors (N = 190) and producers (N = 1,027); the extent to which Oscar-shortlisted nonfiction feature films reflect social issues; and contemporary audience distribution availability. Over 10 years, contemporary Academy Award-shortlisted documentaries were overwhelmingly created by White, male directors and producers, and they were more likely to spotlight social justice topics than to portray purely entertaining narratives. This study draws from feminist and critical race theories to analyze the societal value of inclusion in the nonfiction storytelling business, given increased audience access to digital-era documentaries, as well as the dominance of the social issue documentary genre as a means of counter-storytelling. Implications and future research directions for documentary industry professionals and scholars are discussed. [ABSTRACT FROM AUTHOR]

The article focuses on interrelations between proletarian performance practice and film in the Weimar Republic. It states that the interrelation demonstrates that Kuhle Wampe's politics of form are based on an intermedial hybridization of aesthetic forms emerging in the media of film and performance. It highlights the politics implied in the aesthetic image of the urban proletariat constructed by Kuhle Wampe, and discusses the hybrid aesthetics to reconsider the film's modernism.

This article explores representations of youth, masculinity, family and modernity in ‘denunciation movies’, a film genre criticizing juvenile lifestyles that experienced noticeable success in early-1980s Greece. Based on six movies launched between 1981 and 1983 the article approaches denunciation movies as documents expressing sociocultural developments and as presenting a darker view than the frequent more optimistic characterization of the period. Scrutinizing the historicity of the movies, the article examines representations of ‘youth’ and the ‘city’, highlighting politics of consumption, sexuality and family relations. Finally, it investigates how music was used as a medium of critique of foreign cultural influences. [ABSTRACT FROM AUTHOR]

This essay undertakes a historical investigation of the activities of Foto Cine Clube Bandeirante’s cinema section during the 1940s and 1950s and the discourses surrounding amateur film practice in Brazil at the time. Through the pages of Boletim Foto-Cine, the club’s official publication, we can identify how commercial narrative cinema and foreign standards were initially considered the models for amateur production. In addition, the beginning of the amateur-film contests in 1950 created a rich context for amateur practice, inspiring the production of different film genres and close attention to Brazilian culture. The connection with the international cinema-club circuit will also be highlighted, as well as the particularities concerning Brazilian amateur cine culture. [ABSTRACT FROM AUTHOR]