Pub Date : 2023-08-02DOI: 10.1080/10509208.2023.2235991
Eunha Son
Click to increase image sizeClick to decrease image size AcknowledgementsThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628)Disclosure StatementThe author declares no conflict of interest.Notes1 “I’ve been trying all winter to get my hands on the elements that make up this painting and to find a clear pattern. (omitted) I believe that it’s better to expose their clunkiness than to put on a stereotyped packaging in the end.” An excerpt from van Gogh’s The Potato Eaters.2 The Japanese film Rashomon was the world’s first oil painting animation film.3 For example, Inside Out and Mune: The Guardian of the Moon.4 The Natural Color System (NCS) is a proprietary perceptual color model based on the color opponency hypothesis of color vision, first proposed by German physiologist Ewald Hering.5 Examples of such works include Paul Gauguin’s Paintings of Tahiti, Van Gogh’s Café Terrace at Night, and Gustav Klimt’s The Dancer and The Virgin.6 Ukiyo-e is a genre of Japanese woodblock prints and paintings established during the Edo Period (1615-1868) depicting the daily lives and customs of the time.7 To produce this animation, artists were selected by auditioning, and 107 artists drew 65,000 painting by themselves. Since the picture was reproduced in the same standard, imagination was added when it was larger than the original in Living Vincent.Additional informationFundingThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628).Notes on contributorsEunha SonI am currently working as a research professor at the Korean Studies Institute at Pusan National University. I focus on interdisciplinary studies in the humanities and imaging science.
{"title":"Symbolic Image of Colors in the Animation Film, <i>Loving Vincent</i>","authors":"Eunha Son","doi":"10.1080/10509208.2023.2235991","DOIUrl":"https://doi.org/10.1080/10509208.2023.2235991","url":null,"abstract":"Click to increase image sizeClick to decrease image size AcknowledgementsThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628)Disclosure StatementThe author declares no conflict of interest.Notes1 “I’ve been trying all winter to get my hands on the elements that make up this painting and to find a clear pattern. (omitted) I believe that it’s better to expose their clunkiness than to put on a stereotyped packaging in the end.” An excerpt from van Gogh’s The Potato Eaters.2 The Japanese film Rashomon was the world’s first oil painting animation film.3 For example, Inside Out and Mune: The Guardian of the Moon.4 The Natural Color System (NCS) is a proprietary perceptual color model based on the color opponency hypothesis of color vision, first proposed by German physiologist Ewald Hering.5 Examples of such works include Paul Gauguin’s Paintings of Tahiti, Van Gogh’s Café Terrace at Night, and Gustav Klimt’s The Dancer and The Virgin.6 Ukiyo-e is a genre of Japanese woodblock prints and paintings established during the Edo Period (1615-1868) depicting the daily lives and customs of the time.7 To produce this animation, artists were selected by auditioning, and 107 artists drew 65,000 painting by themselves. Since the picture was reproduced in the same standard, imagination was added when it was larger than the original in Living Vincent.Additional informationFundingThis work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2019S1A5B5A07106628).Notes on contributorsEunha SonI am currently working as a research professor at the Korean Studies Institute at Pusan National University. I focus on interdisciplinary studies in the humanities and imaging science.","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135016566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1080/10509208.2022.2043097
Sunil Barthwal, Vipul Sharma
Ali Abbas Zafar’s digital debut Tandav web series on Amazon Prime aired on 15 January 2021 (Zafar 2021) got engulfed in controversy for hurting the religious sentiments of Hindus and for derogatory caste-based remarks. Amazon Prime apologized unconditionally to its viewers for hurting public sentiments following 10 FIRs against Tandav (2021) for scenes that portrayed Hindu Gods in poor light and caste references (“Amazon Prime Apologises for Tandav: We Respect Our Viewers’ Diverse Beliefs and Apologise Unconditionally” 2021). The apology came after the Allahabad High Court refused the anticipatory bail plea to Aparna Purohit, the India content chief of Amazon Prime. Ali Abbas Zafar reiterated that the objectionable scenes were edited and removed from the series, as they respected the beliefs, religion, and values of all Indians. Yet, people could access the deleted scenes on social media (Movieflicks 2021). Many people who did not know about the web series logged on to YouTube and Instagram to see the deleted scenes and posted their comments. People compared the tolerance of respective religious groups in response to controversial media content. Virtual groups and communities on social media got created, in which people bitterly fought for their respective faiths. Tandav (Zafar 2021) was just another of the dozens of controversial media content that fueled the country’s debate on communal politics and witnessed protests and public disharmony. The web series is the latest, and perhaps one of the first OTT web streamed series to be caught in a controversy over inappropriate religious content and showing a Hindu God swearing on screen. Indian cinema has come a long way since
Ali Abbas Zafar于2021年1月15日在亚马逊Prime上播出的数字首秀Tandav网络连续剧（Zafar 2021）因伤害印度教徒的宗教情绪和基于种姓的贬损言论而陷入争议。亚马逊Prime无条件地向观众道歉，因为10起针对Tandav（2021）的FIRs在光线不佳和种姓参考的情况下描绘印度教神的场景伤害了公众情绪（“亚马逊Prime为Tandav道歉：我们尊重观众的多样信仰，无条件地道歉”2021）。此前，阿拉哈巴德高等法院拒绝了亚马逊Prime印度内容主管Apana Purohit的预期保释请求。阿里·阿巴斯·扎法尔重申，这些令人反感的场景被编辑并从该系列中删除，因为它们尊重所有印度人的信仰、宗教和价值观。然而，人们可以在社交媒体上访问被删除的场景（Movieflicks 2021）。许多不知道这部网络连续剧的人登录YouTube和Instagram查看被删除的场景，并发表评论。人们比较了各自宗教团体对有争议的媒体内容的容忍度。社交媒体上的虚拟团体和社区应运而生，人们在其中为各自的信仰进行激烈的斗争。Tandav（Zafar 2021）只是数十个有争议的媒体内容中的另一个，这些内容引发了该国关于社区政治的辩论，并见证了抗议和公众不和谐。这部网络连续剧是最新的，也许也是第一部因不恰当的宗教内容和印度教上帝在屏幕上咒骂而陷入争议的OTT网络流媒体连续剧之一。自那以后，印度电影已经走过了漫长的道路
{"title":"New-Age Media and the Genesis of Hindutva","authors":"Sunil Barthwal, Vipul Sharma","doi":"10.1080/10509208.2022.2043097","DOIUrl":"https://doi.org/10.1080/10509208.2022.2043097","url":null,"abstract":"Ali Abbas Zafar’s digital debut Tandav web series on Amazon Prime aired on 15 January 2021 (Zafar 2021) got engulfed in controversy for hurting the religious sentiments of Hindus and for derogatory caste-based remarks. Amazon Prime apologized unconditionally to its viewers for hurting public sentiments following 10 FIRs against Tandav (2021) for scenes that portrayed Hindu Gods in poor light and caste references (“Amazon Prime Apologises for Tandav: We Respect Our Viewers’ Diverse Beliefs and Apologise Unconditionally” 2021). The apology came after the Allahabad High Court refused the anticipatory bail plea to Aparna Purohit, the India content chief of Amazon Prime. Ali Abbas Zafar reiterated that the objectionable scenes were edited and removed from the series, as they respected the beliefs, religion, and values of all Indians. Yet, people could access the deleted scenes on social media (Movieflicks 2021). Many people who did not know about the web series logged on to YouTube and Instagram to see the deleted scenes and posted their comments. People compared the tolerance of respective religious groups in response to controversial media content. Virtual groups and communities on social media got created, in which people bitterly fought for their respective faiths. Tandav (Zafar 2021) was just another of the dozens of controversial media content that fueled the country’s debate on communal politics and witnessed protests and public disharmony. The web series is the latest, and perhaps one of the first OTT web streamed series to be caught in a controversy over inappropriate religious content and showing a Hindu God swearing on screen. Indian cinema has come a long way since","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"40 1","pages":"702 - 724"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47260474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1080/10509208.2023.2242069
K. Raveendran, Dhishna Pannikot
{"title":"Queer Desire and Surveillance Optics: Exploring Foucault’s Panoptic Regime in the Indian Biographical Film Aligarh","authors":"K. Raveendran, Dhishna Pannikot","doi":"10.1080/10509208.2023.2242069","DOIUrl":"https://doi.org/10.1080/10509208.2023.2242069","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44760575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1080/10509208.2023.2230116
Justito Adiprasetio, Annissa Winda Larasati
{"title":"Deconstructing Pocong, the Indonesian Sacred Ghost: A Diachronic Analysis of Mumun (2022), Indonesian Contemporary Horror Film","authors":"Justito Adiprasetio, Annissa Winda Larasati","doi":"10.1080/10509208.2023.2230116","DOIUrl":"https://doi.org/10.1080/10509208.2023.2230116","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44183163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1080/10509208.2023.2242065
Mitul Joseph Koickakudy
{"title":"Khaki on Screen: Understanding the Representation of Cops in Malayalam Cinema","authors":"Mitul Joseph Koickakudy","doi":"10.1080/10509208.2023.2242065","DOIUrl":"https://doi.org/10.1080/10509208.2023.2242065","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42623976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Stereotype of Nigerian Singles in Selected Nollywood Series","authors":"Tolulope Kayode-Adedeji, Ayomide Orisabiyi, Fola Bamigbolayin-Afolabi","doi":"10.1080/10509208.2023.2239124","DOIUrl":"https://doi.org/10.1080/10509208.2023.2239124","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42591097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-30DOI: 10.1080/10509208.2023.2238854
Priyankha Rajagopal, Manali Karmakar
{"title":"V. Devadatta’s Psycho (2008): Confluence of Psychopathy, Empathy, and Moral Responsibility","authors":"Priyankha Rajagopal, Manali Karmakar","doi":"10.1080/10509208.2023.2238854","DOIUrl":"https://doi.org/10.1080/10509208.2023.2238854","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48509678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-25DOI: 10.1080/10509208.2023.2235990
Pratyusha Pramanik, Ajit K. Mishra
{"title":"Changing Stories, Changing Lives: Reconfiguration of Mothering Practices in Contemporary Bollywood","authors":"Pratyusha Pramanik, Ajit K. Mishra","doi":"10.1080/10509208.2023.2235990","DOIUrl":"https://doi.org/10.1080/10509208.2023.2235990","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42041766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-24DOI: 10.1080/10509208.2023.2234849
S. K. Jena, S. Mohanty, Manish Kumar
{"title":"25 Years of Online Video Streaming Research: A Bibliometric Analysis","authors":"S. K. Jena, S. Mohanty, Manish Kumar","doi":"10.1080/10509208.2023.2234849","DOIUrl":"https://doi.org/10.1080/10509208.2023.2234849","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41316701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-24DOI: 10.1080/10509208.2023.2236509
William Kummer
{"title":"Longer Than the Road That Stretches Out Ahead: Historiography and Documentary Techniques in Let It Be (1970) and The Beatles: Get Back (2021)","authors":"William Kummer","doi":"10.1080/10509208.2023.2236509","DOIUrl":"https://doi.org/10.1080/10509208.2023.2236509","url":null,"abstract":"","PeriodicalId":39016,"journal":{"name":"Quarterly Review of Film and Video","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44830143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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