In recent years, artificial intelligence (AI) has emerged as an important theme in Indian cinema. Taking note of Indian filmmakers’ interest in AI, this article examines the Hindi-language short film Anukul directed by Sujoy Ghosh. Based on a short story by the legendary auteur Satyajit Ray, the film draws us to a posthuman world order in which machines have assumed rights and threaten to push humans out of the loop. The AI–human interface in Anukul provokes a number of ethical questions and this article aims to think through some of the ethical and legal concerns raised in the film.
{"title":"Artificial intelligence in Indian films: Anukul and AI ethics","authors":"Md. Monirul Islam","doi":"10.1386/sfs_00082_1","DOIUrl":"https://doi.org/10.1386/sfs_00082_1","url":null,"abstract":"In recent years, artificial intelligence (AI) has emerged as an important theme in Indian cinema. Taking note of Indian filmmakers’ interest in AI, this article examines the Hindi-language short film Anukul directed by Sujoy Ghosh. Based on a short story by the legendary auteur Satyajit Ray, the film draws us to a posthuman world order in which machines have assumed rights and threaten to push humans out of the loop. The AI–human interface in Anukul provokes a number of ethical questions and this article aims to think through some of the ethical and legal concerns raised in the film.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66764389","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}
This article focuses on the realistic depiction of female teenage students’ experience of subjection and resistance to disciplinary power in today’s Iranian patriarchal society, and the excessive vulnerability of their underprivileged position at the intersection of gender and age inequalities in Sonia K. Hadad’s Exam.
{"title":"Patriarchal domination and resistance in Exam","authors":"Arash Mohammadavvali","doi":"10.1386/sfs_00078_1","DOIUrl":"https://doi.org/10.1386/sfs_00078_1","url":null,"abstract":"This article focuses on the realistic depiction of female teenage students’ experience of subjection and resistance to disciplinary power in today’s Iranian patriarchal society, and the excessive vulnerability of their underprivileged position at the intersection of gender and age inequalities in Sonia K. Hadad’s Exam.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46933709","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}
In this article, I examine the film style of Yasmin Ahmad’s short film Chocolate (2009) by looking specifically at its production design component. Through the application of design intensity theory, the abstract function of film style theory and Viktor Shklovsky’s ostranenie (defamiliarization) concept, my examination reveals that production design through the patterning of everyday objects as props (kitchen utensils, a plastic food cover, AA batteries, a baby milk bottle and a chocolate bar) in Chocolate functions more than denoting the setting of the story and enhancing the reality effect. It also works to visualize abstract ideas about the ambivalent possibilities of interracial–interfaith relationships in contemporary Malaysia.
{"title":"Film style, production design and the politics of interracial–interfaith relationship in Yasmin Ahmad’s Chocolate (2009)","authors":"Ari Purnama","doi":"10.1386/sfs_00083_1","DOIUrl":"https://doi.org/10.1386/sfs_00083_1","url":null,"abstract":"In this article, I examine the film style of Yasmin Ahmad’s short film Chocolate (2009) by looking specifically at its production design component. Through the application of design intensity theory, the abstract function of film style theory and Viktor Shklovsky’s ostranenie (defamiliarization) concept, my examination reveals that production design through the patterning of everyday objects as props (kitchen utensils, a plastic food cover, AA batteries, a baby milk bottle and a chocolate bar) in Chocolate functions more than denoting the setting of the story and enhancing the reality effect. It also works to visualize abstract ideas about the ambivalent possibilities of interracial–interfaith relationships in contemporary Malaysia.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47945052","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":"Exam (Emtehan)","authors":"Sonia K. Hadad","doi":"10.1386/sfs_00075_7","DOIUrl":"https://doi.org/10.1386/sfs_00075_7","url":null,"abstract":"","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43183183","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}
This article draws a connection between the genre instability of Janicza Bravo’s first two short films and her subject position as a Black woman directing films about vulnerable white masculinity. In fluctuating between the tonal and genre markers of comedy and horror, Eat (2011) and Gregory Go Boom (2013) reveal the contradictions between mainstream representations that uplift flawed white male characters and how they are perceived by those they oppress.
本文将Janicza Bravo前两部短片的类型不稳定与她作为一名黑人女性导演的关于弱势白人男子气概的电影的主题地位联系起来。Eat（2011）和Gregory Go Boom（2013）在喜剧和恐怖的色调和类型标志之间摇摆不定，揭示了提升有缺陷的白人男性角色的主流表现与他们所压迫的人如何看待他们之间的矛盾。
{"title":"Frustrating white men: Masculinity and genre instability in Eat and Gregory Go Boom","authors":"Sonia Lupher","doi":"10.1386/sfs_00080_1","DOIUrl":"https://doi.org/10.1386/sfs_00080_1","url":null,"abstract":"This article draws a connection between the genre instability of Janicza Bravo’s first two short films and her subject position as a Black woman directing films about vulnerable white masculinity. In fluctuating between the tonal and genre markers of comedy and horror, Eat (2011) and Gregory Go Boom (2013) reveal the contradictions between mainstream representations that uplift flawed white male characters and how they are perceived by those they oppress.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49461031","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":"An interview with Sonia K. Hadad on Exam","authors":"Cynthia Felando","doi":"10.1386/sfs_00077_7","DOIUrl":"https://doi.org/10.1386/sfs_00077_7","url":null,"abstract":"","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46114701","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}
This article examines questions of sexual citizenship in The Dress, directed by Tadeusz . It situates the film’s narrative alongside disability studies’ repositioning in a social model of the sexuality of people with disabilities. It argues that interpreting The Dress as a contribution to discourse about sexual inclusivity is not at odds with seeing the film as one in which the representation of human desires and frustrations assumes a universal relevance. Analysis of mise en scène and comparisons drawn from art history query the film’s use of aesthetics. Reference to Intimate Encounters 20 Years On underscores cultural specificities in turn between conservativism and progressivism.
{"title":"Made to measure: The Dress and the politics of sexual citizenship","authors":"R. Prout","doi":"10.1386/sfs_00081_1","DOIUrl":"https://doi.org/10.1386/sfs_00081_1","url":null,"abstract":"This article examines questions of sexual citizenship in The Dress, directed by Tadeusz . It situates the film’s narrative alongside disability studies’ repositioning in a social model of the sexuality of people with disabilities. It argues that interpreting The Dress as a contribution to discourse about sexual inclusivity is not at odds with seeing the film as one in which the representation of human desires and frustrations assumes a universal relevance. Analysis of mise en scène and comparisons drawn from art history query the film’s use of aesthetics. Reference to Intimate Encounters 20 Years On underscores cultural specificities in turn between conservativism and progressivism.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44409735","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}
In both Qiu Yang’s A Gentle Night and Sameh Alaa’s I Am Afraid to Forget Your Face, a face-to-face encounter takes place between a distraught main character and a beloved they have lost. Even though the one deals with storge while the other with eros, I argue that both of these Palme d’Or-winning short films, through the concealing, framing, covering and revealing of faces, encourage audiences to use their imaginations and, as a result, to enter into a face-to-face encounter with the short film as well.
{"title":"Encountering real and imagined faces in A Gentle Night and I Am Afraid to Forget Your Face","authors":"Dian Weys","doi":"10.1386/sfs_00084_1","DOIUrl":"https://doi.org/10.1386/sfs_00084_1","url":null,"abstract":"In both Qiu Yang’s A Gentle Night and Sameh Alaa’s I Am Afraid to Forget Your Face, a face-to-face encounter takes place between a distraught main character and a beloved they have lost. Even though the one deals with storge while the other with eros, I argue that both of these Palme d’Or-winning short films, through the concealing, framing, covering and revealing of faces, encourage audiences to use their imaginations and, as a result, to enter into a face-to-face encounter with the short film as well.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44461708","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":"A schematic breakdown of No Bikini","authors":"Cynthia Felando","doi":"10.1386/sfs_00062_7","DOIUrl":"https://doi.org/10.1386/sfs_00062_7","url":null,"abstract":"","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49021341","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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