It’s just past 10:00 am on a humid Monday in Singapore, and the streets seemed to have settled after a workday rush. My walk from Arab Street to McNally Street was rather placid, punctuated by moments at intersections, and surrounded by people heading somewhere. Minutes later, I was looking up at the postmodern buildings of LASALLE College of the Arts—a panorama of reinforced concrete, glass, tiles, and steel gleaming under the morning sun. In cinema, spaces and landscapes are primary features. At times, the setting goes beyond the overarching narrative, as it conveys its own story. Given their impact, Stephen Heath (2016) infers that a process occurs in identifying spatial connections to the characters, since “organizing, guiding, sustaining and reestablishing the space are the factors that reveal this process.” The audience absorbs the familiar images or experiences onscreen. However, embodied objects of varying iterations contribute to how environments in films are concretized. On this note, one can ask: in what ways do filmic environments thus project narratives and discourses?
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Altered Landscapes and Filmic Environments
An Account from the 13th Asian Cinema Studies Society Conference
Tito R. Quiling Jr.
Masculinity, Sex, and Dicks
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Andrea Waling and Jennifer Power
. Several proposed articles for the issue were unfortunately withdrawn by authors as their teaching and academic workloads increased substantially in the scramble to move to an online-only teaching environment. The languishing feeling of lockdowns, of which
Film, Art, and the Third Culture
A Naturalized Aesthetics of Film—Précis
Murray Smith
illuminated by neuroscientific discoveries. But the brain is not the whole story; according to the theory of the “extended mind,” human cognition relies extensively on the environment beyond the skin and skull of the individual agent. And according to the
Sexuality, Masculinity, and Intellectual Disability
Beyond a Focus on Regulation and Vicarious Illusions
Nathan J. Wilson and David Charnock
with intellectual disability within their home environments, and the collection of relevant artifacts such as policy documents. Data was collected and analyzed iteratively across the years 2006–2008. Responding to a Pathological Baseline The
The Aesthetics of Boredom
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
Emre Çağlayan
two distinctive forms: (1) simple boredom, a fleeting, temporary and timebound condition arising from either the lack of stimuli in an environment, an inability of attention, impatience or other external circumstances such as confinement; and (2
David Bordwell
still am not, competent to argue out these positions insofar as they bear on veridical perception in our environment. But I would maintain that inference of an informal sort is crucial to understanding all kinds of social phenomena. Take what have been
David Davies
intensity. Our ability to empathize is extended across a wide range of types of person and situation, and sustained and intensified by virtue of the artificial, “designed” environments created by narrative artefacts . (191) In each of these passages, we
Gradation of Emphasis in the CinemaScope Westerns of Anthony Mann
A Style Analysis
Sam Roggen
the medium to create a pathetic relationship between man and environment.” Basinger (2007: 69 ) suggested that, in Mann’s westerns “the landscape both frames and embodies action,” and added that “a character’s position in the narrative (as well as his
Torben Grodal
an environment that is difficult to control mentally, and creates a feeling in the viewers of being overwhelmed. The bad guys are psychopathic charlatans and this activates social FEAR for the big city and its socially foreign or deviant persons. To
Welcome to “Planet Porno”
Masculinity, Sexuality, and Fitness Doping
Jesper Andreasson and Thomas Johansson
individual interviews, ranging from one to four hours in length, were carried out, recorded, and transcribed verbatim. Adding to this, approximately 150 hours were spent observing the participants in their training environments—primarily—as well as on joining