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The article focuses on the depiction of the USS Indianapolis disaster in American cinema, particularly through Steven Spielberg's Jaws (1975). Topics include the influence of the "Indianapolis speech" in Jaws on public awareness of the naval disaster, the decline in subsequent film adaptations about the USS Indianapolis, and the connection between the disaster and broader historical and cultural contexts such as the atomic bombing of Hiroshima and post-Cold War U.S.-Japanese relations.

This article examines Steven Spielberg's 1997 film Amistad, which depicts a slave rebellion and mutiny on a Cuban slave ship in 1839, as a lens through which to view the origins of the Black Legend. The Black Legend emerged in 1830s in the U.S. to depict Latin American instability as the result of Spanish oppression, violence, cultural inferiority and Catholicism. The narrative served to benefit the ideology of white supremacy and the myth of American (read U.S.) "exceptionalism" by drawing global attention away from the maintenance of slavery in the U.S. and highlighting Spanish and Cuban involvement in the clandestine slave trade in the nineteenth century. The article analyzes a variety of secondary and primary sources that place blackness at the center of the construction of the Black Legend, from contemporary accounts of the Amistad revolt to subsequent references to blackness in histories of U.S.-Latin American relations in the 1830s and 1840s. The article shows how Spielberg inserts Christianity as a force for racial equality and holds up the judicial branch of the U.S. government as a model for Latin America to follow, echoing the inherent contradictions of the Black Legend in the late twentieth century. Ultimately, the article argues that U.S. history must be examined in relation to the history of Latin America, and narratives of blackness in the Atlantic world shaped national mythos and identities in similar ways. Examining the African Diaspora in the Americas, as well as the subsequent national narratives of race and national identities, helps to deconstruct narratives of exceptionalism and reveal political motivations and contradictions in the Black Legend narrative. [ABSTRACT FROM AUTHOR]

This article focuses on the masculinities shown throughout Steven Spielberg's Hook, following Pat Kirkham and Janet Thumim's four sites of masculinities in film. Robin Williams's character (Peter Banning/Pan) evolves from belonging to the business man prototype (Peter Banning) to becoming an adult-although-rejuvenated Peter Pan. His body is shown in action when BanninG/Pan attempts to behave in a more juvenile way. Banning/Pan's external world is defined by his fatherhood, which involves both quality and quantity time spent with his children. The internal world is related to Banning/Pan's fear of flying and death. [ABSTRACT FROM AUTHOR]

In my paper, I examine the borderline between documentary and feature films by enumerating the typical differences and similarities. My question is: in adapting a true story, is the documentary an unbiased presentation of reality, or rather a representation of the director’s subjective objectivity? I compare the adaptations of the popular story of Oskar Schindler: Steven Spielberg’s world hit feature film Schinder’s List and Jon Blair’s documentary, Schindler: The Real Story, examining the adaptation techniques of the two genres, focusing on the emphasis of the episodes of the well-known story in each of the two works. Finally, I show, through a case study of my own work, how the boundaries between the two cinematic genres are blurred in the processing of memory and documentary data. [ABSTRACT FROM AUTHOR]

This article discusses the representations of alienhood in a selection of first contact science-fiction films. It performs a cinematographic reading of human encounters with and attitudes towards alienhood. By examining the visual stylistic choices, the representation of outer-space (other)worlds and alienhood will be problematized beyond the binarism of vilification and celebration. Instead, contact with alienhood will offer deeper insight into the cultural, intellectual and psychological facets of human identity and urge further introspection about the human position in a universe that no longer obeys an anthropocentric logic. Ultimately, first contact science-fiction cinema will be shown to relativize the reassuring conception of selfhood and to suggest the obsolescence of universalist-humanist assumptions about alienhood. This is achieved by opting for a representational one-way route which leads towards acceptance, not of the alien per se, but of the potential and limits of the human self when faced with the unknowability and the unrepresentability of alienhood. [ABSTRACT FROM AUTHOR]

How can a Spielberg film exemplify a historiography and impart legal historians and scholars of African studies alike with an innovative perspective? In Steven Spielberg's Amistad, Cinqué's famed exclamation "give us free" reverberated not only into popular culture but also the legal academy. Before the 1990s, legal scholars referenced United States v. Schooner Amistad, if indeed they referenced it at all, in terms of maritime law and property rights, absent an inquiry into the African peoples whose hardships stood at the center of the case. Then came Spielberg's film, which made clear the brutality and unimaginable violence withstood by Cinqué and others taken captive. As a result, American legal scholarship finally began to wrest with issues of race and the role of the United States Supreme Court in upholding slavery and elevate the African peoples to whom the story of Amistad belongs. In analyzing the film as a source of legal history, this review essay will explore the state of legal scholarship on United States v. Schooner Amistad before the 1997 film, drawing attention to earlier scholarly confusion on how to classify the case. It will then challenge legal history's boundaries by analyzing forty-two post-1997 journal articles relating to the film, arguing that scholars at last began to recognize themes of race, forced migration, and enslavement, central to the Amistad case, as a direct result of the film's unique influences on the legal academy. In turn, the yet unexplored intersection of these sources will invite inquiries into whether Amistad was truly an "anti-slavery" case and open space for further scholarship on cases similarly related to transatlantic slavery that never earned the likes of a Spielberg film. [ABSTRACT FROM AUTHOR]

In this article the authors discuss Steven Spielberg's Jaws (1975) with Henrik Ibsen's En Folkefiende (An Enemy of the People; 1882) as a test case for formulating a better theoretical understanding of adaptations that are neither "announced" nor "extended"; the analysis thus explores adaptation as a special form of intertextuality. The authors reference other cinematic engagements with the same play, including Hans Steinhoff's Ein Volksfeind (1937), Detlef Sierck's La Habanera (1937), George Schaefer's An Enemy of the People (1978), Satyajit Ray's Ganashatru (1989), and Erik Skjoldbjærg's En folkefiende (2005), as they investigate the importance of polysemic allegorical structures, the inherently "dialectical" nature of the process of adaptation, the role of reception in newer theories of adaptation, and the implications of understanding adaptation as a particular film genre. The authors propose viewing adaptation as a process that necessarily includes the audience's understanding of hypotext and hypertext in ways that influence meaning production; it invites consideration of the source text in the film's reception, consequently linking the source text and its author to other cultural and social discourses that, in turn, influence their reception reflexively in light of the adaptation. [ABSTRACT FROM AUTHOR]

In this precarious time of staying at home due to the Covid‐19 pandemic, people often ask around what movies are worth watching. I recommend the movie, The Post, directed by Steven Spielberg in 2017. In this review, I am going to provide a rationale for why I keep returning to the movie: it gave me opportunities to ponder what it means to be a token woman leader who began as a housewife and became a transformational leader in U.S. history. I present here select notable scenes that are memorable and inspiring. To that end, I capture the scenes first and then add my own reviews from the lens of women's leadership. My conclusion: we need to hear more transformational women leaders' voices that will help inspire women in the next generation. [ABSTRACT FROM AUTHOR]

"Can't Buy Me Love?: Market, Mass Production, and Investment in Steven Spielberg's A.I. Artificial Intelligence" examines the film's (2001) money plot. In so doing, it reveals how companies profit off robots like David (Haley Joel Osment). It goes on to revisit Spielberg's source material, Brian Aldiss's "Supertoys Last All Summer Long" (1969), which offers direct criticism of how we turn to short-term fixes, all the while neglecting long-term problems. I argue that Henry downplays his wife Monica's discontent both in creating and in relying on a succession of AI stand-ins—Teddy, David, and now a serving-man—and, indeed, the couple abdicates their responsibility toward each other. [ABSTRACT FROM AUTHOR]

Debates about authorship in cinema have held a privileged position in film studies since the 1950s, when the young generation of critics of the film journal Cahiers du Cinema formulated the politique des auteurs. This critical strategy proposed that the director of a film was the major creative source of the finished work. Since this assumption contradicts the industrial and collaborative character of the film medium, the politique has been questioned, attacked and reformulated ever since its beginnings. The auteur theory was appropriated and deconstructed under the influence of structuralist and poststructuralist theories that questioned the very concepts of individual creativity and self-expression. Nevertheless, questions about authorship in cinema did not vanish but were developed in many ways. If film is regarded not only as an art form but as a commodity, the director's name cannot only be regarded as a sign of a discernible style (a ›world view‹), but as a brand name. ›Scorsese‹, ›Tarantino‹, ›Lynch‹, ›Nolan‹ – these names imply certain images, dramatic approaches, and themes. They also serve as a label for marketing a product. Directors and producers like Steven Spielberg or Ridley Scott lend their names to a certain kind of media production (film or television series) that raises expectations associated with their work. They do not necessarily work as a director. As producers – or even only as the owners of a production company – they may function as a kind of team leader, leaving the creative work to hired teams. In television, the showrunner is the major creative and managing force in the production of a series that is scripted, shot, and directed by several production crews simultaneously. Film and media studies have sought to discern the structures of collective working from historical and contemporary perspectives. Bordwell and others have described the (Hollywood) system and its mode of production, that defined the auteurs' work. When looking closer at ›the system‹, it becomes obvious that there are different kinds of authorship in existence. Recent production studies on the working conditions in todays' television have sought to analyse the structures of working together and ask questions about individual agency. The growing awareness of collective authorship promotes new ways of close film analysis. The German television series BabylonBerlin here serves as an example of a major contemporary media production with multiple creative influences and explicit collective authorship. A closer look at the successful series reveals the impact of this plurality on its storytelling and form. [ABSTRACT FROM AUTHOR]

The trial of Cinqué and his African companions was a real event that was immortalized in Steven Spielberg's 1997 film Amistad. This historical drama brought the story of those aboard the Amistad and their subsequent trial to the attention of the public. This article places the trial in context, re-examines the proceedings, and analyzes the portrayal of the events to understand what the trial means for us today. [ABSTRACT FROM AUTHOR]

The essay explores a case study of the distortion of the interpretation of language-based rhetorical persuasion caused by de-politicization, using Steven Spielberg's film adaptation of Alice Walker's novel "The Color Purple." Cited are how a film adaptation can lead to de-politicization, "The Color Purple" as a de-politicized text, and Walker's discussions about womanism and Black child abuse as being the antithesis of the suppression of Black girls within Spielberg's patriarchal adaptation.

This article presents the historical and contemporary relationship that cinema and urban- architectural space have developed. Its purpose is to show the reciprocal influence between objective and virtual reality projected in science fiction films like Blade Runner, by director Ridley Scott (1982), and Ready Player One, by Steven Spielberg (2011), regarding the current perception of architectural space. The idea behind establishing the relationship between these films is highlighting the prospective used by their directors around user-architecture interaction and technology. Some of the literary and cinematographic works that address the topic of postmodern cities and the cities of the future are cited as background, either from a Utopian vision or from the perspective of a dystopia. Methodologically, a critical review of both films was carried out based on an analysis layout on the conception of architecture through its scenography or staging (Zavala, 2003), as well as the similarity with the way in which we currently travel through the architectural space with the use of mixed reality technology. In this way, the results show how mixed reality (physical and virtual) influences the perception and behavior of users within physical spaces. The conclusion expresses the inescapable presence of mixed reality in spaces as complex as those of cinema and architecture. [ABSTRACT FROM AUTHOR]

This article presents the historical and contemporary relationship that cinema and urban- architectural space have developed. Its purpose is to show the reciprocal influence between objective and virtual reality projected in science fiction films like Blade Runner, by director Ridley Scott (1982), and Ready Player One, by Steven Spielberg (2011), regarding the current perception of architectural space. The idea behind establishing the relationship between these films is highlighting the prospective used by their directors around user-architecture interaction and technology. Some of the literary and cinematographic works that address the topic of postmodern cities and the cities of the future are cited as background, either from a Utopian vision or from the perspective of a dystopia. Methodologically, a critical review of both films was carried out based on an analysis layout on the conception of architecture through its scenography or staging (Zavala, 2003), as well as the similarity with the way in which we currently travel through the architectural space with the use of mixed reality technology. In this way, the results show how mixed reality (physical and virtual) influences the perception and behavior of users within physical spaces. The conclusion expresses the inescapable presence of mixed reality in spaces as complex as those of cinema and architecture. [ABSTRACT FROM AUTHOR]

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This article will consider the recent 'remastered' editions of the first twelve seasons of the Comedy Central animated series South Park (1997-), and the impact that this may have upon the meanings associated with the original episodes. The show is now produced in a high-definition format, and most circulating versions of new instalments present any swearing 'unbleeped'. These choices were not present from the very beginning of the series, however, and retrospectively applying them to past works serves to complicate the linear production history of the show. South Park has been quite vocal in its criticism of the revisionist practices of directors such as Steven Spielberg and George Lucas (most notably in the episode 'Free Hat', airdate 07/10/2002). As such, this decision to submit to an apparently similar process raises questions about South Park's 'cult' status, and the previous tendency to celebrate its (self-professed) 'crappy' aesthetics. The show's remarkable longevity offers a valuable case study into the complexities and contradictions of preserving television history, while also attempting to maximize a text's profitability and 'afterlife' in the online streaming marketplace. [ABSTRACT FROM AUTHOR]

The article offers information related to Met averse. Topic discussed includes understanding, the met averse such as always present and has no ending, experiencing synchronously by multiple people, offering a fully functioning economy and spanning both the digital and physical worlds, as well as open and closed platforms.

The article examines that the term "gamer novel" probably means nothing to the vast majority of contemporary readers as if they follow movie news even absent-mindedly, Steven Spielberg's Ready Player One will not have escaped their notice.

The amazing science fiction setting and plot depicted by Ernest Cline in his Ready Player One may constitute a real challenge to translators and subtitlers alike as his book was also turned into a movie by Steven Spielberg. We have collected hundreds of terms from the original book (2011), its Hungarian translation (2012), the Hungarian dubbed version (March 2018), the most popular Hungarian fansub (2018), and the professional subtitle (July 2018, from the same person who translated the script for the dubbing). Having classified the collected terms into various categories, we have managed to identify successful Hungarian renditions of cultural allusions from the 1980s (movies, books, videogames, shows, songs, characters, objects, vehicles, etc.). [ABSTRACT FROM AUTHOR]

A roundtable discussion concerning the motion picture "Lincoln," directed by Steven Spielberg, starring Daniel Day-Lewis, and Tommy Lee Jones, is presented. Participants in the discussion include historians Catherine Clinton, Allen C. Guelzo, and Kevin Levin. It also includes historians John R. Neff, Megan Kate Nelson, and Matthew Pinsker. They discuss the historical accuracy of the movie, the depiction of former U.S. president Abraham Lincoln, and the film's script.