This paper analyses P.J. Hogan’s Confessions of a Shopaholic (2009) in three sections. In the first section, it studies how the film maps shopping as an illness that needs to be cured onto the body of its female heroine. It does so, as is argued here, by portraying her as a patient suffering from Compulsive Buying Disorder (CBD). In the second part, it traces how Confessions necessitates the cure of the female shopper, given its background of the Great Recession and how this holds generic significance for the romantic comedy. The paper then concludes by charting the heroine’s cure in group therapy as predicated upon the principle of the Foucauldian confession and how this then resolves the narrative as, what Diane Negra calls, one of “adjusted ambitions.”
{"title":"“Billions in Debt and Still Surviving”: Curing the Female Shopper in Confessions of a Shopaholic","authors":"Meghna Sapui","doi":"10.5195/cinej.2018.192","DOIUrl":"https://doi.org/10.5195/cinej.2018.192","url":null,"abstract":"This paper analyses P.J. Hogan’s Confessions of a Shopaholic (2009) in three sections. In the first section, it studies how the film maps shopping as an illness that needs to be cured onto the body of its female heroine. It does so, as is argued here, by portraying her as a patient suffering from Compulsive Buying Disorder (CBD). In the second part, it traces how Confessions necessitates the cure of the female shopper, given its background of the Great Recession and how this holds generic significance for the romantic comedy. The paper then concludes by charting the heroine’s cure in group therapy as predicated upon the principle of the Foucauldian confession and how this then resolves the narrative as, what Diane Negra calls, one of “adjusted ambitions.”","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"37 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72819827","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}
Raúl Rodríguez-Hernández and Claudia Schaefer, The Supernatural Sublime: The Wondrous Ineffability of the Everyday in Films from Mexico and Spain. Lincoln: University of Nebraska Press, 2019. xii + 304 pp. ISBN 9781496214249, $55.00 (hbk)
{"title":"Review of The Supernatural Sublime: The Wondrous Ineffability of the Everyday in Films from Mexico and Spain","authors":"S. Skelton","doi":"10.5195/cinej.2020.297","DOIUrl":"https://doi.org/10.5195/cinej.2020.297","url":null,"abstract":"Raúl Rodríguez-Hernández and Claudia Schaefer, The Supernatural Sublime: The Wondrous Ineffability of the Everyday in Films from Mexico and Spain. Lincoln: University of Nebraska Press, 2019. xii + 304 pp. ISBN 9781496214249, $55.00 (hbk)","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"12 1","pages":"468-473"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75417138","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 issue of CINEJ Cinema Journal witnessed the devastating effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. Global shifts in production and distribution gave rise to new stars, streaming services. The diversity of film sets was gaining momentum as film productions were halted. Ne reports and new investment for the future of filmmaking are at stake at this juncture. As the year closed there have losses like Fernando Solanas and Sean Connery.
{"title":"Cinema, Life and Other Viruses: The Future of Filmmaking, Film Education and Film Studies in the Age of Covid-19 Pandemic","authors":"Murat Akser","doi":"10.5195/cinej.2020.351","DOIUrl":"https://doi.org/10.5195/cinej.2020.351","url":null,"abstract":"This issue of CINEJ Cinema Journal witnessed the devastating effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. Global shifts in production and distribution gave rise to new stars, streaming services. The diversity of film sets was gaining momentum as film productions were halted. Ne reports and new investment for the future of filmmaking are at stake at this juncture. As the year closed there have losses like Fernando Solanas and Sean Connery.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"8 1","pages":"1-13"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77913986","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}
Today, the new media has become an inseparable part of the daily life. Since the internet and the social media have become widely available, the new media has been effective in socio-cultural changes and transformations. On the other hand, this process, which is also called as digitalization, is not only effective in the new media. The relation between the traditional media and the new media has also been under transformation. This study is based on the relation between the mainstream cinema and the new media and “YouTuber movies” are investigated in this context which are examined using genre criticism method.
{"title":"“Youtuber Movies” From New Media to the Cinema","authors":"Barış Tolga Ekinci","doi":"10.5195/cinej.2019.230","DOIUrl":"https://doi.org/10.5195/cinej.2019.230","url":null,"abstract":"Today, the new media has become an inseparable part of the daily life. Since the internet and the social media have become widely available, the new media has been effective in socio-cultural changes and transformations. On the other hand, this process, which is also called as digitalization, is not only effective in the new media. The relation between the traditional media and the new media has also been under transformation. This study is based on the relation between the mainstream cinema and the new media and “YouTuber movies” are investigated in this context which are examined using genre criticism method.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":" 7","pages":"94-118"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72383473","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}
Comedy has always been one of the most popular genres in Turkish cinema and television series. As the distinction between film and series has begun to blur in the post-television era, narratives are transforming according to the characteristics of the new medium. Streaming services targeting niche audience offer more freedom to creators of their content. This article aims to study the comedy series Bartu Ben (Its me, Bartu) which is one of the original series of Turkish streaming service Blu TV, in order to interpret the differences of the series from traditional television comedies, and contribution of streaming services to the transformation of the genre.
{"title":"Transformation of Comedy with Streaming Services: The Case of Bartu Ben","authors":"N. Yildirim","doi":"10.5195/cinej.2020.300","DOIUrl":"https://doi.org/10.5195/cinej.2020.300","url":null,"abstract":"Comedy has always been one of the most popular genres in Turkish cinema and television series. As the distinction between film and series has begun to blur in the post-television era, narratives are transforming according to the characteristics of the new medium. Streaming services targeting niche audience offer more freedom to creators of their content. This article aims to study the comedy series Bartu Ben (Its me, Bartu) which is one of the original series of Turkish streaming service Blu TV, in order to interpret the differences of the series from traditional television comedies, and contribution of streaming services to the transformation of the genre.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"22 1","pages":"403-425"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89658304","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}
Rites and myths are important parts of the identity and the culture of every nation. Iranian rites and performing arts, as a part of Iranian art and culture, which has always got attention throughout history, can help us recognize ancient Iranian culture and history. Cinema, among other interactive arts, has sometimes been able to portray ritual arts well. Travellers, made by Bahram Beyzai, is one of the most prominent examples of the visualization of ritual arts in Iran, because the movie consists of three parts, like the three theaters, in which the rites are portrayed as the main story of the movie, and the Persian culture and customs have been exhibited. This paper, which its research method is descriptive-analytical, examines the standing of rites and ritual arts in Travellers movie and analyzes its atmosphere regarding to performing rituals. Its scene design changes as the script process, so that the application of elements such as light and color, and their intensity and reduction in different mental conditions, from pleasure to mourning, has been considered wisely, and the atmosphere has a dramatic impact on the audience in different scenes. The lighting and the coloring of the scenes in the movie, indicates a tribute to beliefs and faith in rites and ritual arts.
{"title":"An analytical study of the ritual ceremonies in Iranian performing arts, a case study of Travellers","authors":"Shiva Khalili Kolahian","doi":"10.5195/cinej.2020.260","DOIUrl":"https://doi.org/10.5195/cinej.2020.260","url":null,"abstract":"Rites and myths are important parts of the identity and the culture of every nation. Iranian rites and performing arts, as a part of Iranian art and culture, which has always got attention throughout history, can help us recognize ancient Iranian culture and history. Cinema, among other interactive arts, has sometimes been able to portray ritual arts well. Travellers, made by Bahram Beyzai, is one of the most prominent examples of the visualization of ritual arts in Iran, because the movie consists of three parts, like the three theaters, in which the rites are portrayed as the main story of the movie, and the Persian culture and customs have been exhibited. This paper, which its research method is descriptive-analytical, examines the standing of rites and ritual arts in Travellers movie and analyzes its atmosphere regarding to performing rituals. Its scene design changes as the script process, so that the application of elements such as light and color, and their intensity and reduction in different mental conditions, from pleasure to mourning, has been considered wisely, and the atmosphere has a dramatic impact on the audience in different scenes. The lighting and the coloring of the scenes in the movie, indicates a tribute to beliefs and faith in rites and ritual arts.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"74 1","pages":"217-246"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83768648","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 Roman Polanski’s film Repulsion from a psychoanalytic perspective by attending Julia Kristeva’s notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film’s portrayal of the protagonist, Carole’s abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.
{"title":"A Moebial Ride through Polanski’s Repulsion","authors":"Defne Tüzün","doi":"10.5195/cinej.2020.323","DOIUrl":"https://doi.org/10.5195/cinej.2020.323","url":null,"abstract":"This article examines Roman Polanski’s film Repulsion from a psychoanalytic perspective by attending Julia Kristeva’s notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film’s portrayal of the protagonist, Carole’s abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"89 1","pages":"426-456"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79530328","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}
Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.
{"title":"A Reading of Bhabendra Nath Saikia's Films from Feminist Lens","authors":"Minakshi Dutta","doi":"10.5195/cinej.2020.261","DOIUrl":"https://doi.org/10.5195/cinej.2020.261","url":null,"abstract":"Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"37 1","pages":"247-274"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77950673","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 research, two forms of love; digital love and the love for God are the chosen themes to analyse the movie Her with the method of semiotic analysis. Mentioning the differences between love simulacrums created in social media and love in real life, the semiotic analysis of the movie Her is carried out with the indicators that match the criteria to find God through love in Sufism. As a result, it is observed that these characteristics in Sufism correspond to the traits that form digital love. In other words, digital love is an emotional state in which someone or something is idealized without being seen in person just like the concept of love in Sufism. The digital age has transformed spiritual values despite the fact that the quest for emotional attachment has been constant since the beginning of human existence.
{"title":"Transformation of Love in the Digital Age: The film Her and Reaching God through the love in the Perspective of Sufism","authors":"Aybike Serttaş","doi":"10.5195/cinej.2020.264","DOIUrl":"https://doi.org/10.5195/cinej.2020.264","url":null,"abstract":"In this research, two forms of love; digital love and the love for God are the chosen themes to analyse the movie Her with the method of semiotic analysis. Mentioning the differences between love simulacrums created in social media and love in real life, the semiotic analysis of the movie Her is carried out with the indicators that match the criteria to find God through love in Sufism. As a result, it is observed that these characteristics in Sufism correspond to the traits that form digital love. In other words, digital love is an emotional state in which someone or something is idealized without being seen in person just like the concept of love in Sufism. The digital age has transformed spiritual values despite the fact that the quest for emotional attachment has been constant since the beginning of human existence.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75023290","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 will look at cinematic representation of Antiochia, a city with multiple identities, with a multi-cultural, long and deep historical background in Turkish director Semir Aslanyürek’s films. The article will focus on Aslanyürek’s visual storytelling through his beloved city, his main characters and his main conflicts and themes in his films Şellale (2001), Pathto House (2006), 7 Yards (2009), Lal (2013), Chaos (2018). Semir Aslanyürek was born in Antiochia in 1956. After completing his primary and secondary education in Antiochia (Hatay), he went to Damascus and began his medical training. As an amateur sculptor, he won an education scholarship with one of his statues for art education in Moscow. After a year, he decided to study on cinema instead of art. Semir Aslanyürek studied Acting, Cinema and TV Film from 1980 to 1986 in the Russian State University of Cinematography (VGIK), Faculty of Film Management, and took master's degree. While working as a professor at Marmara University, Aslanyürek directed feature films and wrote many screenplays. This article will also base its arguments on Aslanyürek's cinematic vision as multi-cultural and as a multi-disciplinary visual artist.
{"title":"Antiochia As A Cinematic Space and Semir Aslanyürek as a Film Director From Antiochia","authors":"Selma Köksal Çekiç","doi":"10.5195/cinej.2020.279","DOIUrl":"https://doi.org/10.5195/cinej.2020.279","url":null,"abstract":"This study will look at cinematic representation of Antiochia, a city with multiple identities, with a multi-cultural, long and deep historical background in Turkish director Semir Aslanyürek’s films. The article will focus on Aslanyürek’s visual storytelling through his beloved city, his main characters and his main conflicts and themes in his films Şellale (2001), Pathto House (2006), 7 Yards (2009), Lal (2013), Chaos (2018). Semir Aslanyürek was born in Antiochia in 1956. After completing his primary and secondary education in Antiochia (Hatay), he went to Damascus and began his medical training. As an amateur sculptor, he won an education scholarship with one of his statues for art education in Moscow. After a year, he decided to study on cinema instead of art. Semir Aslanyürek studied Acting, Cinema and TV Film from 1980 to 1986 in the Russian State University of Cinematography (VGIK), Faculty of Film Management, and took master's degree. While working as a professor at Marmara University, Aslanyürek directed feature films and wrote many screenplays. This article will also base its arguments on Aslanyürek's cinematic vision as multi-cultural and as a multi-disciplinary visual artist.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"418 1","pages":"377-402"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79509820","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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