There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video-films in Nigeria, Ghana, and indeed across the African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminist counterparts, masculinity always (re)emerges in new forms or topoi to dominate femininity. Consequently, there seems to be a paradigm shift on the (mis)representation of women that reinforces Laura Mulvey’s sexual voyeuristic objectification of the feminine gender as reflected in near-nude costumes as well as sexually larded scenes that are common sights in African films, particularly those from Ghana. Employing the historical-analytic and observation methods, this article examines three selected films: The Maid I Hired (2010), Why Did I Get Married? (2007) and To Love a Prince (2014) by Frank Rajah Arase (FRA), an African filmmaker of Benin (Edo) extraction who largely operates in the Diaspora, to foreground and highlight the voyeuristic imprints in Ghanaian films (Ghallywood), which tend to demean the feminine gender in the context of African culture that hegemonizes the male folk.
{"title":"Female Representation in Select Films of Frank Rajah Arase: Evidence of Male Chauvinist Tendencies in the Ghanaian Film Culture","authors":"O. Omoera, C. Okwuowulu","doi":"10.5195/CINEJ.2021.287","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.287","url":null,"abstract":"There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video-films in Nigeria, Ghana, and indeed across the African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminist counterparts, masculinity always (re)emerges in new forms or topoi to dominate femininity. Consequently, there seems to be a paradigm shift on the (mis)representation of women that reinforces Laura Mulvey’s sexual voyeuristic objectification of the feminine gender as reflected in near-nude costumes as well as sexually larded scenes that are common sights in African films, particularly those from Ghana. Employing the historical-analytic and observation methods, this article examines three selected films: The Maid I Hired (2010), Why Did I Get Married? (2007) and To Love a Prince (2014) by Frank Rajah Arase (FRA), an African filmmaker of Benin (Edo) extraction who largely operates in the Diaspora, to foreground and highlight the voyeuristic imprints in Ghanaian films (Ghallywood), which tend to demean the feminine gender in the context of African culture that hegemonizes the male folk.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"49 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86391478","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 following essay discusses the cultural factors that inspired the “hard body” movies of the 1980’s and 1990’s, but it also describes the changes that occurred, later on, that contributed to the deconstruction of those movies. The hard body movies were characterized by having a reoccurring set of actors (Schwarzenegger, Stallone, and Van Damme) and themes (facing adversaries in a forceful manner), and some of the factors that influenced this portrayal were the Reagan Revolution and a revaluation of the Vietnam war. However, a change in political ideology, and a reassessment of America’s place in the world, inspired the deconstruction of those movies, and newer movies brought with them a new message, of what could be considered a soft body.
{"title":"I’ll be back? The Deconstruction of the 1980s and the 1990s Hard Body Movies","authors":"Moshe Machlev","doi":"10.5195/CINEJ.2021.369","DOIUrl":"https://doi.org/10.5195/CINEJ.2021.369","url":null,"abstract":"The following essay discusses the cultural factors that inspired the “hard body” movies of the 1980’s and 1990’s, but it also describes the changes that occurred, later on, that contributed to the deconstruction of those movies. The hard body movies were characterized by having a reoccurring set of actors (Schwarzenegger, Stallone, and Van Damme) and themes (facing adversaries in a forceful manner), and some of the factors that influenced this portrayal were the Reagan Revolution and a revaluation of the Vietnam war. However, a change in political ideology, and a reassessment of America’s place in the world, inspired the deconstruction of those movies, and newer movies brought with them a new message, of what could be considered a soft body.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89067214","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}
Documentary film has become an important tool to seek information. This study shows how documentaries are projecting skepticism and sarcasm of Iraqi people due to volatile, uncertain complex, and ambiguous (VUCA) conditions. The fims discussed in this study consists of Oscar-winning and Oscar-nominated documentary films from 2003 to 2011 with a total of 45 films. The year 2003 is selected for its demarcation of U.S.-led invasion of Iraq which started in March 2003 and toppled over the government of Saddam Hussein. The year 2011 denotes the end with the departure of US troops in 2011. Through the criterion sampling, four films are selected that depict Iraq and all the four got the nomination for Oscar that includes: Iraq in Fragments (2006-Nomination); My Country My Country (2006-N); No End in Sight (2007-N); Operation Homecoming: Writing the Wartime Experience (2007-N). To explore Iraqi people’s perspectives, further sampling is applied and two documentaries are selected depicting entanglement of religion and politics in Iraq from Iraqi people’s perspective.
{"title":"Emerging Discourses, Changing Perspectives: Iraq in Oscar Documentary Films","authors":"Abida Ashraf","doi":"10.5195/cinej.2020.247","DOIUrl":"https://doi.org/10.5195/cinej.2020.247","url":null,"abstract":"Documentary film has become an important tool to seek information. This study shows how documentaries are projecting skepticism and sarcasm of Iraqi people due to volatile, uncertain complex, and ambiguous (VUCA) conditions. The fims discussed in this study consists of Oscar-winning and Oscar-nominated documentary films from 2003 to 2011 with a total of 45 films. The year 2003 is selected for its demarcation of U.S.-led invasion of Iraq which started in March 2003 and toppled over the government of Saddam Hussein. The year 2011 denotes the end with the departure of US troops in 2011. Through the criterion sampling, four films are selected that depict Iraq and all the four got the nomination for Oscar that includes: Iraq in Fragments (2006-Nomination); My Country My Country (2006-N); No End in Sight (2007-N); Operation Homecoming: Writing the Wartime Experience (2007-N). To explore Iraqi people’s perspectives, further sampling is applied and two documentaries are selected depicting entanglement of religion and politics in Iraq from Iraqi people’s perspective.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"44 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88851552","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 Cabin in the Woods (2011) is a highly self-reflexive movie that is aware of its generic roots. In particular, the film struggles with the meaning of “the woods” in the horror genre. Cabin ’s central twist in this respect is that the titular “woods” are not untamed nature, but rather a place of artifice. Cabin ’s woods are not uncanny because they are far removed from “civilization,” but rather exactly because they are part of it. The film’s emphasis on the artificiality of nature suggests that the concept of “nature” is exactly that—a concept, a cultural construct, loaded with meaning. The film’s ending envisions the end of that discursive construct—but for that to happen, humankind must vanish.
{"title":"Crushing Life in the Anthropocene? Destroying Simulated \"Nature\" in The Cabin in the Woods","authors":"Michael Fuchs","doi":"10.5195/cinej.2020.225","DOIUrl":"https://doi.org/10.5195/cinej.2020.225","url":null,"abstract":"The Cabin in the Woods (2011) is a highly self-reflexive movie that is aware of its generic roots. In particular, the film struggles with the meaning of “the woods” in the horror genre. Cabin ’s central twist in this respect is that the titular “woods” are not untamed nature, but rather a place of artifice. Cabin ’s woods are not uncanny because they are far removed from “civilization,” but rather exactly because they are part of it. The film’s emphasis on the artificiality of nature suggests that the concept of “nature” is exactly that—a concept, a cultural construct, loaded with meaning. The film’s ending envisions the end of that discursive construct—but for that to happen, humankind must vanish.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"12 1","pages":"62-93"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78657642","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}
Basil Glynn, The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema. International Library of the Moving Image. Bloomsbury, 2019. 216 pp. ISBN 9781788314084 (hardcover). $115.00.
{"title":"Review of The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema","authors":"S. F. Maydana","doi":"10.5195/cinej.2020.308","DOIUrl":"https://doi.org/10.5195/cinej.2020.308","url":null,"abstract":"Basil Glynn, The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema. International Library of the Moving Image. Bloomsbury, 2019. 216 pp. ISBN 9781788314084 (hardcover). $115.00.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"27 1","pages":"474-480"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83637064","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}
Michel Chion, Audio-Vision: Sound on Screen. New York: Columbia University Press, 2019. xxvi + 270 pp. ISBN 9780231185899, $30.00 (pbk)
Michel Chion，视听:屏幕上的声音。纽约:哥伦比亚大学出版社，2019。xxvi + 270页，ISBN 9780231185899, 30.00美元(pbk)
{"title":"Review of Audio-Vision: Sound on Screen","authors":"Nick Poulakis","doi":"10.5195/cinej.2020.289","DOIUrl":"https://doi.org/10.5195/cinej.2020.289","url":null,"abstract":"Michel Chion, Audio-Vision: Sound on Screen. New York: Columbia University Press, 2019. xxvi + 270 pp. ISBN 9780231185899, $30.00 (pbk)","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"34 1","pages":"457-462"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89389052","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 2020 we have received a variety of books on cinema and media from these publishers: Amsterdam University Press., Bloomsbury Academic, Columbia University Press, Edinburgh University Press, Intellect, Nordicom, Peter Lang, Routledge, University of Illinois Press, and Wayne State University Press.
{"title":"Books Received 2020","authors":"Murat Akser","doi":"10.5195/cinej.2020.350","DOIUrl":"https://doi.org/10.5195/cinej.2020.350","url":null,"abstract":"In 2020 we have received a variety of books on cinema and media from these publishers: Amsterdam University Press., Bloomsbury Academic, Columbia University Press, Edinburgh University Press, Intellect, Nordicom, Peter Lang, Routledge, University of Illinois Press, and Wayne State University Press.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"99 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85487473","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 study is an attempt to investigate the ability of different colors used in cinematic lighting designs to affect audience’s impressions towards the appearance and mood of film characters. The study critically appraised existing cinematic lighting techniques and identified the two basic color groups (i.e., warm and cold colors) that should be examined in order to answer the research questions and formulate its conclusions. To provide the needed empirical evidence for this research work, some experiments with a representative sample of viewers were conducted. These experiments confirmed the existence of direct relationships between various colors of lighting and the perceived appearance and mood of film characters. Moreover, specific color hues of lighting appeared to be more effective than others in altering the perceived appearance and mood of film characters. The study concluded that audience’s perception of appearances and moods within cinematic images is linked, even in part, to different colors of lighting.
{"title":"The Effects of Film Illumination Hues – An Exploration Study","authors":"Mustafa Yousry Matbouly","doi":"10.5195/cinej.2020.278","DOIUrl":"https://doi.org/10.5195/cinej.2020.278","url":null,"abstract":"This study is an attempt to investigate the ability of different colors used in cinematic lighting designs to affect audience’s impressions towards the appearance and mood of film characters. The study critically appraised existing cinematic lighting techniques and identified the two basic color groups (i.e., warm and cold colors) that should be examined in order to answer the research questions and formulate its conclusions. To provide the needed empirical evidence for this research work, some experiments with a representative sample of viewers were conducted. These experiments confirmed the existence of direct relationships between various colors of lighting and the perceived appearance and mood of film characters. Moreover, specific color hues of lighting appeared to be more effective than others in altering the perceived appearance and mood of film characters. The study concluded that audience’s perception of appearances and moods within cinematic images is linked, even in part, to different colors of lighting.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"17 1","pages":"353-376"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86166354","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}
Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, nonEnglish, nonPersian movies are not included. The aim is to expound any relationships between the film and Rubaiyat; therefore, according to the type of the applied quatrain, movie genre, plot, some categories are propounded to classify the movies in which Khayyam’s quatrains are quoted such as Transiency-Death, Transiency-Carpe Diem, Heaven and Hell, and Determinism. Indeed, these categories can be applied to the theme of the movies or a single scene in which the stanza is quoted.
{"title":"The Study of Rubaiyat attributed to Khayyam in Movies","authors":"Milad Minakar, A. Chitsazian","doi":"10.5195/cinej.2020.271","DOIUrl":"https://doi.org/10.5195/cinej.2020.271","url":null,"abstract":"Among the literati and men of culture of Iran, it is not exaggerated to call Khayyam one of the vaguest figures. One might recognize him certainly and resolutely through his philosophical and scientific works; however, it was his Rubaiyat attributed to him which created many arguments. This paper studies Hakim Omar Khayyam’s Rubaiyat in English and Persian language feature and non-biographical movies; hence, biographical movies depicting factual or imaginary life of Khayyam or any serials, TV productions, documentaries, nonEnglish, nonPersian movies are not included. The aim is to expound any relationships between the film and Rubaiyat; therefore, according to the type of the applied quatrain, movie genre, plot, some categories are propounded to classify the movies in which Khayyam’s quatrains are quoted such as Transiency-Death, Transiency-Carpe Diem, Heaven and Hell, and Determinism. Indeed, these categories can be applied to the theme of the movies or a single scene in which the stanza is quoted.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"13 1","pages":"324-352"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83589908","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}
Neurocinema is considered as one of the emerging interdisciplinary sciences and relies on neuroscience discoveries to explore various aspects of the movie effect on the viewer’s brain. The mentioned science not only investigates this effect but also seeks to answer how a good movie takes control of the neural pathways. Another part of neurocinema investigates movies that their content includes patients’ neurological and also psychiatric problems. As cinema is heavily influenced by technology, the quality of cinema and whatever it deals with, will vary to respond in advancements of technology. Considering that neurocinema will face a new world in line with these changes, the various aspects effect of this new world on the human brain should be thoroughly considered.
{"title":"Evaluation of Neurocinema as An Introduction to an Interdisciplinary Science","authors":"A. Naser Moghadasi","doi":"10.5195/cinej.2020.267","DOIUrl":"https://doi.org/10.5195/cinej.2020.267","url":null,"abstract":"Neurocinema is considered as one of the emerging interdisciplinary sciences and relies on neuroscience discoveries to explore various aspects of the movie effect on the viewer’s brain. The mentioned science not only investigates this effect but also seeks to answer how a good movie takes control of the neural pathways. Another part of neurocinema investigates movies that their content includes patients’ neurological and also psychiatric problems. As cinema is heavily influenced by technology, the quality of cinema and whatever it deals with, will vary to respond in advancements of technology. Considering that neurocinema will face a new world in line with these changes, the various aspects effect of this new world on the human brain should be thoroughly considered.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"88 1","pages":"307-323"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79166747","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：