Chinese businessmen in Indonesia still want to come [to Australia] for safety for their families, especially their children. Right now many Chinese in Jakarta fear violence, because commercial grudges are actually being settled by attacks on them. Recently, a famous Chinese businessman in Indonesia was shot dead even though he was guarded by men from KOPPASUS [an elite counter-terrorist army unit]. He was killed by men due to some business grudge … I do not want my son to do business in Indonesia because of the violence. He could make a competitive tender for a government or other contract, but then find that someone bears a grudge against him for being underbid and decides to hurt or kill him. One never knows.
Its Chinese Alters in Transnational Space
Donald M. Nonini
Beyond the Kuleshov Effect
While the Russian film actor Ivan Mozzhukhin has been recognized by film scholars such as Jean Mitry as one of the important actors of the silent screen the nature of his contributions has gone unexplained and, ironically, Mozzhukhin is perhaps best remembered for a lost experiment, presumably carried out by Lev Kuleshov around 1920, that showed how the editor can construct character emotions with shots of contextual objects. The historical record and scientific attempts to replicate the experiment indicate that we need to pay attention to Mozzhukhin’s role as performer and my study of his performances suggests that we may have to rethink long-held assumptions about the relationship between performer expressiveness and editing.
A Cinematic Case Study
James E. Cutting and Karen Pearlman
We investigated physical changes over three versions in the production of the short historical drama, Woman with an Editing Bench (2016, The Physical TV Company). Pearlman, the film’s director and editor, had also written about the work that editors do to create rhythms in film (Pearlman 2016), and, through the use of computational techniques employed previously (Cutting et al. 2018), we found that those descriptions of the editing process had parallels in the physical changes of the film as it progressed from its first assembled form, through a fine cut, to the released film. Basically, the rhythms of the released film are not unlike the rhythms of heartbeats, breathing, and footfalls—they share the property of “fractality.” That is, as Pearlman shaped a story and its emotional dynamics over successive revisions, she also (without consciously intending to do so) fashioned several dimensions of the film— shot duration, motion, luminance, chroma, and clutter—so as to make them more fractal.
New Perspectives in Children's Film Studies
The study of children’s films is a complex and demanding issue, involving a range of critical, educational, psychological, cultural, institutional, and textual aspects. “Children’s films” can be a broad and ambiguous term; there are films aimed at children, films about childhood, and films children watch regardless of whether they are children’s films or films targeted toward adults. The rise of an expanding children’s film industry (including the accompanying merchandizing products) in the United States and many European countries presents a further challenge to the study of children’s films. In some countries, children’s films are included in the general school curriculum; this indicates that children’s films are a key part of children’s culture that requires educational attention. Another fact to which the inclusion of children’s films in school curricula points is the crucial role of these films in the development of media literacy, due to the fact that children come to recognize and understand the typical features of films by means of a gradual process which takes a substantial amount of time. The acquisition of a “film language” presupposes the ability to comprehend the symbolic meanings of images, the close relationship, upon which films depend, between a moving image, sound, and speech, and prototypical properties of films, such as shots, zooms, cuts, camera perspective, and voice-over.
Consider two instances of screened bodies. The first comes from the article published in the Journal of Sex & Marital Therapy where a group of urologists and radiologists attempted to “confirm that it is feasible to take images of the male and female genitals during coitus and to compare this present study with previous theories and recent radiological studies of the anatomy during sexual intercourse” (Faix et al. 2002: 63). In their well-illustrated study of Magnetic Resonance Imaging (MRI) screen shots—often simplified and clarified with keyed line drawings—they address the history of trying to imagine and depict heterosexual intercourse, the movement, shape, and position of engaged male and female genitalia, and the factors affecting arousal and orgasm. (The study can only suggest the possibility of two types of vaginal orgasm as the man climaxes once during the experiment while the woman does not. Clitoral stimulation is mentioned but not pursued in the study.) The researchers assert the parameters of “normal” private and sexual lives and echo “natural” expectations with regard to sex, gender, sexuality, and sexual positions and practices. They involve themselves in visual analyses of drawings, sketches, ultrasound displays, and MRI monitors—discussing the details and features of the various technologies and the advantages and drawbacks of the different experimental conditions. They make a special note of “the couple” not experiencing difficulty having intercourse during the four sessions and mention the man’s consumption of Viagra.
‘No government can protect the rights of citizens without rigorous police, but the difference between a free regime and a tyrannical one is that, in the former, the police are employed against that minority opposed to the general good as well as against the abuse and negligence of the authorities; whereas, in the latter the State police are employed against the down-trodden who are thus delivered into the hands of injustice and impunity’.
This declaration was not a reaction to the Marikana massacre (16 August 2012), when a British mining company operating in South Africa had a special unit of the post-Apartheid South African Police Service murderously repress a mine workers strike, by means of mass shooting; many of those killed were later found to have been shot in the back as they ran away from the volley of bullets. It was made about two hundred and twenty years before, in April 1794, when revolutionary France was experiencing its most tragic moments. In the context of the Terror, and facing the necessity to discipline it, its author, Saint-Just (1767–1794), redeployed some of the most classical concepts in the History of Political Thought – freedom versus tyranny, general good versus particular interest, elite accountability versus impunity of power – in order to provide the ideological principles framing the organisation, within the web of the revolutionary police, of a special office in charge of the surveillance of the Executive and of public authorities.
The topic of violence in moving image media has retained its salience and controversies over several decades, and Stuart Bender returns our interest to the subject in his analysis of depictions of war violence in movies and video games. Bender is a working filmmaker as well as a scholar and university educator. This combination of skill sets enables him to blend a filmmaker’s attention to the craft of creating moving images with a scholar’s attention to the historical, theoretical, and cultural contexts in which moving images circulate and are produced. He is interested in why viewers describe certain depictions as being realistic even under circumstances in which various elements of cinematic style take those depictions away from the known contexts where battlefield violence occurs. He compares Hollywood films from the classical and modern eras with video games in order to advance a conception of realism based on viewers’ perceptions of the accretion of detail within the surface design of shots and scenes. He situates what he terms “reported realism” with reference to existing traditions of realist theory in cinema.
As the subtitle of the journal indicates, the intersection of movies and mind is a key theme of our coverage. First up in this issue is Jeffrey Zacks’s wide-ranging discussion of how our brains process the sights and sounds of motion pictures. He gives us a précis of his new book, Flicker: Your Brain on Movies, which aims to introduce a wide audience to the psychology and neuroscience that underlie our experience of motion pictures. He discusses the ways viewers parse narratives and build models of story events, perceive shot changes,
respond emotionally to fictional situations, and recall filmic information, and he ends by speculating about the future of virtual entertainment. In some not-too-distant future, will movies jack directly into our central nervous system? The readership of Projections is a key constituency of the research that guides Zacks’s discussion. His contribution differs a little from our usual style. Because it derives from a book that he has aimed at a broad audience, the tone of the writing is a bit more informal than is the norm in scholarly venues. Our readers should find the discussion both lively and fascinating. I am grateful to Jeff for providing us with this overview of his work.