The adult-child binary positions the child in a developmental process toward rationality attained through becoming an adult. The child is not considered a ‘whole human’ or given the status of an ‘individual’ in a social context, as seen in the representations of child and childhood in Malayalam films. This study aims to analyze the post-human identity of children in films focusing on how social and cultural systems are portrayed in the selected films titled Manjadikuru (2008), Keshu (2009), and Philips and the Monkey Pen (2013). The article intends to problematize the inequalities, biases, and lack of agency experienced by the post-human child and argues against awarding humanist identity to the child and childhood(s).
{"title":"The Embodiment of the Post-human Child in Malayalam Films","authors":"Rona Reesa Kurian, Preeti Navaneeth","doi":"10.5195/cinej.2023.590","DOIUrl":"https://doi.org/10.5195/cinej.2023.590","url":null,"abstract":"The adult-child binary positions the child in a developmental process toward rationality attained through becoming an adult. The child is not considered a ‘whole human’ or given the status of an ‘individual’ in a social context, as seen in the representations of child and childhood in Malayalam films. This study aims to analyze the post-human identity of children in films focusing on how social and cultural systems are portrayed in the selected films titled Manjadikuru (2008), Keshu (2009), and Philips and the Monkey Pen (2013). The article intends to problematize the inequalities, biases, and lack of agency experienced by the post-human child and argues against awarding humanist identity to the child and childhood(s).","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"13 7","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955379","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}
The film Joker (2019) garnered huge interest from audiences worldwide and honored at the box office with an amount exceeding one billion dollars. Indeed, Joker has a class and political reflection on society. This article claims that the film Joker is a manifesto against the political forces that prioritize populist, authoritarian, and ruthless capitalist policies all over the world. The aim of our study is to analyze how the class movement is shown and examined in Joker. Joker's anti-system and anti-capitalist stance needs a sociological analysis; this analysis examines how Joker reflects people's subconscious and inspires class resistance. Another important point is to analyze the movie scenes with a descriptive analysis that will help us understand the transformation of the social movement. How the characters are assigned semiotically in the script is another requirement in terms of emphasizing what the film tells implicitly. It is important both to understand the chaos of the working class, which has not yet positioned itself in the production relations of the postmodern period after, and to see the film's recipe for why the working class should not incline towards right-wing populist politics. Understanding these two points will be the most important result and achievement of our study.
{"title":"Joker: Film, Working Class and Post-Truth","authors":"Yildirim Uysal","doi":"10.5195/cinej.2023.587","DOIUrl":"https://doi.org/10.5195/cinej.2023.587","url":null,"abstract":"The film Joker (2019) garnered huge interest from audiences worldwide and honored at the box office with an amount exceeding one billion dollars. Indeed, Joker has a class and political reflection on society. This article claims that the film Joker is a manifesto against the political forces that prioritize populist, authoritarian, and ruthless capitalist policies all over the world. The aim of our study is to analyze how the class movement is shown and examined in Joker. Joker's anti-system and anti-capitalist stance needs a sociological analysis; this analysis examines how Joker reflects people's subconscious and inspires class resistance. Another important point is to analyze the movie scenes with a descriptive analysis that will help us understand the transformation of the social movement. How the characters are assigned semiotically in the script is another requirement in terms of emphasizing what the film tells implicitly. It is important both to understand the chaos of the working class, which has not yet positioned itself in the production relations of the postmodern period after, and to see the film's recipe for why the working class should not incline towards right-wing populist politics. Understanding these two points will be the most important result and achievement of our study.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"493 ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139170477","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 paper explores the character development in the movie Red Dragon (2002) in relation to the Deleuzian theory of becoming-animal, and paintings by William Blake. A character analysis is made on Francis Dolarhyde in light of the theory of becoming, and parallels are drawn between connectionism and relationality, apparent in both Blake’s paintings and the Deleuzian theory. It’s argued that the theory of becoming‑animal resonates with the character development in the film, and the connectivity and contradictions of concepts in Blake’s paintings by which Dolarhyde’s character is inspired. Dolarhyde’s character is described in terms of a continuous, non‑teleological process where he disrupts binaries between the man persona and the dragon alter ego, and is characterized by virtue of his becoming.
{"title":"An Examination of Red Dragon (2002) in Light of the Deleuzian Theory of Becoming‑Animal","authors":"Kemal Yardimci","doi":"10.5195/cinej.2023.363","DOIUrl":"https://doi.org/10.5195/cinej.2023.363","url":null,"abstract":"This paper explores the character development in the movie Red Dragon (2002) in relation to the Deleuzian theory of becoming-animal, and paintings by William Blake. A character analysis is made on Francis Dolarhyde in light of the theory of becoming, and parallels are drawn between connectionism and relationality, apparent in both Blake’s paintings and the Deleuzian theory. It’s argued that the theory of becoming‑animal resonates with the character development in the film, and the connectivity and contradictions of concepts in Blake’s paintings by which Dolarhyde’s character is inspired. Dolarhyde’s character is described in terms of a continuous, non‑teleological process where he disrupts binaries between the man persona and the dragon alter ego, and is characterized by virtue of his becoming.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955964","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}
Throughout film history, time travel has been an intriguing concept revisited time and again by film productions, creating a universe of time travel principles and becoming a discipline of scientific import. With some of the greatest minds and thinkers of our time contributing to the living discourse, time travel has gained global significance and has developed several rules films attempt to follow. Time travel theory postulates several theories concerning the effect of an individual traveling through time and coming into contact with themselves; some benign, some many catastrophic. This study reviews time travel films to determine the cinematic consistency of three of these rules; the grandfather paradox, time-traveling for self-benefit, and meeting oneself in an alternate time.
{"title":"Exploring Time Travel Rules in Time Travel Films","authors":"Jarvis Tyrell Curry","doi":"10.5195/cinej.2023.521","DOIUrl":"https://doi.org/10.5195/cinej.2023.521","url":null,"abstract":"Throughout film history, time travel has been an intriguing concept revisited time and again by film productions, creating a universe of time travel principles and becoming a discipline of scientific import. With some of the greatest minds and thinkers of our time contributing to the living discourse, time travel has gained global significance and has developed several rules films attempt to follow. Time travel theory postulates several theories concerning the effect of an individual traveling through time and coming into contact with themselves; some benign, some many catastrophic. This study reviews time travel films to determine the cinematic consistency of three of these rules; the grandfather paradox, time-traveling for self-benefit, and meeting oneself in an alternate time.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139168523","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}
The paper problematizes Ghatak’s Marxist treatment of the Bengali as well as the Brahmanical repertoire of cultural knowledge, for the purpose of carving out a Communist significance of the period. Rather than a recontextualization of traditional myths, the paper reads in this attitude a nostalgic particularistic abstraction of a rich array of aesthetic ideas, which are best appreciated in their diverse cultural context. The paper argues that Ghatak utilizes creative opuses of vast potential to serve political goals, with an aim of strengthening the East Bengali immigrant population in post-Partition West Bengal. The paper criticizes how Ghatak breaks down the traditions from different spatial and temporal coordinates for serving the representation of the plights of the Bengali Refugee – making a powerful integrated identity of the traumatized subject at the expense of erasing class, caste, communal and gender distinctions. In this, there is an effort to fashion an imaginary unified East Bengali sub-national entity, which is politically evened out for realization of unique identity and clout.
{"title":"Reading Bhadralok Cultural Memory, Kitsch And Culture Industry In Ritwik Ghatak’s Films","authors":"Sarbani Banerjee","doi":"10.5195/cinej.2023.422","DOIUrl":"https://doi.org/10.5195/cinej.2023.422","url":null,"abstract":"The paper problematizes Ghatak’s Marxist treatment of the Bengali as well as the Brahmanical repertoire of cultural knowledge, for the purpose of carving out a Communist significance of the period. Rather than a recontextualization of traditional myths, the paper reads in this attitude a nostalgic particularistic abstraction of a rich array of aesthetic ideas, which are best appreciated in their diverse cultural context. The paper argues that Ghatak utilizes creative opuses of vast potential to serve political goals, with an aim of strengthening the East Bengali immigrant population in post-Partition West Bengal. The paper criticizes how Ghatak breaks down the traditions from different spatial and temporal coordinates for serving the representation of the plights of the Bengali Refugee – making a powerful integrated identity of the traumatized subject at the expense of erasing class, caste, communal and gender distinctions. In this, there is an effort to fashion an imaginary unified East Bengali sub-national entity, which is politically evened out for realization of unique identity and clout.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"47 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138957245","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 paper examines how the encounter between the “First World American women” and “Third world Afghan women” is framed to inadvertently enact a form of representational violence in Liz Mermin’s documentary film, The Beauty Academy of Kabul. The paper shows that despite its ostensibly progressive stance of giving space to Afghan women’s voice, the film, serves to validate the new form the colonial self has taken in the globalized world - the humanitarian identity - and reaffirms the American imperial agenda. Employing Judith Butler’s insights in Frames of War, where she points out how the frame delimits the domain of representability and the confines of “reality” itself, the analysis explores how Mermin’s documentary frames the Afghan women as the first world audience is meant to recognize, grieve and intervene for.
{"title":"Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul","authors":"D. Siriwardena","doi":"10.5195/cinej.2023.549","DOIUrl":"https://doi.org/10.5195/cinej.2023.549","url":null,"abstract":"This paper examines how the encounter between the “First World American women” and “Third world Afghan women” is framed to inadvertently enact a form of representational violence in Liz Mermin’s documentary film, The Beauty Academy of Kabul. The paper shows that despite its ostensibly progressive stance of giving space to Afghan women’s voice, the film, serves to validate the new form the colonial self has taken in the globalized world - the humanitarian identity - and reaffirms the American imperial agenda. Employing Judith Butler’s insights in Frames of War, where she points out how the frame delimits the domain of representability and the confines of “reality” itself, the analysis explores how Mermin’s documentary frames the Afghan women as the first world audience is meant to recognize, grieve and intervene for.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"76 22","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138957895","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}
While the narrative tradition, which has been developing for thousands of years, can be examined by dividing it into three parts as Drama, Lyricos and Epos, since the discovery of cinematography 127 years ago, narrative in cinema has developed narratives parallel to the two most basic theories of cinema, Realistic Film Theory and Formalist Film Theory, as well as contributing to experimental, feminist, etc. narratives in addition to these theories. The main purpose of this article is to examine three different pioneering films and heroes of Turkish Cinema (Umut-Yılmaz Güney-hero: Cabbar, Anayurt Oteli-Ömer Kavur-hero: Zebercet, Uzak-Nuri Bilge Ceylan-hero: Mahmut), which were shot in a realistic theme, and to reveal how they developed their heroes and what kind of experience they offered to the audience with the heroes they presented, starting from the literary narrative genre Epos. Based on the concept of objectivity, the presentations of the heroes were examined by using the cinema's own language and forms with the cooperation of the screenwriter-director.
{"title":"Pioneering \"Experimental Heroes\" of Turkish Cinema","authors":"Selma Köksal","doi":"10.5195/cinej.2023.548","DOIUrl":"https://doi.org/10.5195/cinej.2023.548","url":null,"abstract":"While the narrative tradition, which has been developing for thousands of years, can be examined by dividing it into three parts as Drama, Lyricos and Epos, since the discovery of cinematography 127 years ago, narrative in cinema has developed narratives parallel to the two most basic theories of cinema, Realistic Film Theory and Formalist Film Theory, as well as contributing to experimental, feminist, etc. narratives in addition to these theories. The main purpose of this article is to examine three different pioneering films and heroes of Turkish Cinema (Umut-Yılmaz Güney-hero: Cabbar, Anayurt Oteli-Ömer Kavur-hero: Zebercet, Uzak-Nuri Bilge Ceylan-hero: Mahmut), which were shot in a realistic theme, and to reveal how they developed their heroes and what kind of experience they offered to the audience with the heroes they presented, starting from the literary narrative genre Epos. Based on the concept of objectivity, the presentations of the heroes were examined by using the cinema's own language and forms with the cooperation of the screenwriter-director.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"55 3‐4","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169542","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}
Murat Cem Acaralp, Fevzi Kasap, Mustafa Ufuk Çelik
The film of the destruction of the Russian monument in 1914 is not only the history of Turkish cinema, but also of a country. The aim of this study is to reveal the representation of teachers in Turkish cinema, which is one of the professions that shape a nation, in films that reflect the effects of the periods spent in all its positive and negative aspects. The reflections of the political and social changes experienced in the historical process on the cinema, the emphasis in the representation of the teacher and the quality of the added value created in the society were analyzed in comparison with the periodical conjuncture. With the purposeful sampling management, the films in which the teacher was represented from 1940 to 1980 were compared with the conditions of the period in which they were shot, and their reflections on the society and the teacher were examined.
{"title":"Representation of Teachers in Turkish Cinema Between 1940 and 1980","authors":"Murat Cem Acaralp, Fevzi Kasap, Mustafa Ufuk Çelik","doi":"10.5195/cinej.2023.566","DOIUrl":"https://doi.org/10.5195/cinej.2023.566","url":null,"abstract":"The film of the destruction of the Russian monument in 1914 is not only the history of Turkish cinema, but also of a country. The aim of this study is to reveal the representation of teachers in Turkish cinema, which is one of the professions that shape a nation, in films that reflect the effects of the periods spent in all its positive and negative aspects. The reflections of the political and social changes experienced in the historical process on the cinema, the emphasis in the representation of the teacher and the quality of the added value created in the society were analyzed in comparison with the periodical conjuncture. With the purposeful sampling management, the films in which the teacher was represented from 1940 to 1980 were compared with the conditions of the period in which they were shot, and their reflections on the society and the teacher were examined.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"118 31","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138958371","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}
Bharatiya Janata Party, the ruling party of an emergent Indian nation-state, has, from its genesis ventriloquized and brandished its exacerbating agenda of Hindu Fundamentalism in a flawed myth of an anecdotal Hindu Nationalist past where non-Hindus are conveniently ostracized. This political gambit is deployed to manufacture an overblown theory of a decline in Hindu culture, the best resonance of which is the Citizenship (Amendment) Act of 2019, discriminating, and interrogating the legitimacy of specific communities on sheer grounds of religion. Amit Masurkar's film of 2021, Sherni (The Tigress) provides a critical insight into this brutal Racial Politics pervading an upper caste Hindu society, in the guise of a subtle sub-text, camouflaged within a distracting narrative of Man versus Nature. This paper facilitates the reading of this hidden discourse of Realpolitik alongside the predominant cultural narrative of gender and natural domination. Through a palimpsestuous reading, it explores themes of racial exclusion and segregation in an Ultra-Right Hindu Nation that the film silently addresses. Furthermore, this paper challenges the dominant narrative of Ecofeminism, to instead investigate the categories of race and ethnicity that intersect gender issues.
{"title":"Demystifying the state of Minorities in Contemporary India: Reading Amit Masurkar's Sherni (The Tigress) from the Vantage Point of Marginality","authors":"Purbali Sengupta","doi":"10.5195/cinej.2023.440","DOIUrl":"https://doi.org/10.5195/cinej.2023.440","url":null,"abstract":"Bharatiya Janata Party, the ruling party of an emergent Indian nation-state, has, from its genesis ventriloquized and brandished its exacerbating agenda of Hindu Fundamentalism in a flawed myth of an anecdotal Hindu Nationalist past where non-Hindus are conveniently ostracized. This political gambit is deployed to manufacture an overblown theory of a decline in Hindu culture, the best resonance of which is the Citizenship (Amendment) Act of 2019, discriminating, and interrogating the legitimacy of specific communities on sheer grounds of religion. Amit Masurkar's film of 2021, Sherni (The Tigress) provides a critical insight into this brutal Racial Politics pervading an upper caste Hindu society, in the guise of a subtle sub-text, camouflaged within a distracting narrative of Man versus Nature. This paper facilitates the reading of this hidden discourse of Realpolitik alongside the predominant cultural narrative of gender and natural domination. Through a palimpsestuous reading, it explores themes of racial exclusion and segregation in an Ultra-Right Hindu Nation that the film silently addresses. Furthermore, this paper challenges the dominant narrative of Ecofeminism, to instead investigate the categories of race and ethnicity that intersect gender issues.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"74 19","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138956870","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 paper examines the Irish animated film The Secret of Kells. The conflict of the pagan world with the monotheistic world has been going on for millennia, and the reflections of these conflicts are clearly manifested both in the religious and artistic fields. In different geographies of the world, the call of mother nature still resonates in the depths of the subconscious of most people, images of pagan faith are transmitted from generation to generation and become visible in the works of artists. The life story of Brendon, the hero of the film, which is the subject of this article, makes viewers feel the sensitivity of cinematic aesthetics and folkloric narratives and mythologies through a characteristic Irish animation. The ethnic expressive style of Irish animation has been studied in detail in this article both in the sense of animated cinema and cultural studies.
{"title":"Cinematic Mythology in the Narrative and Design of Tomm Moore’s The Secret of Kells","authors":"Yasemin Kılınçarslan","doi":"10.5195/cinej.2023.560","DOIUrl":"https://doi.org/10.5195/cinej.2023.560","url":null,"abstract":"This paper examines the Irish animated film The Secret of Kells. The conflict of the pagan world with the monotheistic world has been going on for millennia, and the reflections of these conflicts are clearly manifested both in the religious and artistic fields. In different geographies of the world, the call of mother nature still resonates in the depths of the subconscious of most people, images of pagan faith are transmitted from generation to generation and become visible in the works of artists. The life story of Brendon, the hero of the film, which is the subject of this article, makes viewers feel the sensitivity of cinematic aesthetics and folkloric narratives and mythologies through a characteristic Irish animation. The ethnic expressive style of Irish animation has been studied in detail in this article both in the sense of animated cinema and cultural studies.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"48 7","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138957198","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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