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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

to each other, its recurrent dialogue, simultaneously witty and banal, reveals the cruel and bitter relationship between different groups of provincial identities and social classes. Balancing dramatic ambiguity with deadpan humor, the film also

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

specific female representations as exemplars of both identity horror and social horror. Schubart references Barbara Creed's The Monstrous Feminine (2003) and its relation of the female teenage body as “a playground for bodily wastes … beautiful on the

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Torben Grodal

in the film, and to simulate him only implies those features that are portrayed and made salient in the film. Similarly, viewers in real life do, in a given situation, only activate a small fraction of their total identity and full capabilities. Some

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Carl Plantinga

against the film with UNESCO, calling it an attack on the historical identity of Iran. 300 has been called homophobic, racist, antidisability, tribalist, and militaristic. It is the film's incipient fascism, however, that unites these tendencies within a

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Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

the movie describes the new national situation under Franco's regime; and, finally, in sequence 42, which takes place twenty-five years later when Franco dies and the news of his death reaches the exiles in Russia. The generality of this overall

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Sermin Ildirar and Louise Ewing

the experienced viewers were tested for significance by Fisher’s exact test. Results The percentage values reported below reflect the participants’ responses averaged across the two identities that appeared in Set A and Set B (see Table 2 and Table

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Andrew J. Webber

attention. 2 Here, German film is intended to encompass films—including transnational productions such as Lore —made in and about Germany and directly bound up with its conditions of national identity. My particular concern is with childhood as a

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

one of the leading voices in trans* studies and activism. Radi, alongside a national coalition, drafted part of the Gender Identity Law passed by the Argentine Congress in May 2012. 8 Since independence from Spain in 1816, the Argentine Civil Code

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Lieke Hettinga and Terrance Wooten

landscape of representation has been forcefully shifted to make room for trans and gender-nonconforming actors, characters, and producers. This has not been without risk of overrepresenting trans people as “included” into the national body politic, enabling

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Andrew J. Ball

oppositional symbolic form is appropriated by those in power and redeployed to maintain the existent hierarchy. In particular, Eddy tracks how the American film industry used the marginalized identities and emancipatory idiom of the slasher movie to reproduce