Spatial Form and Character Revelations: Korolenko’s Siberian Stories

Arguably, few popular films during the last decade have caused so much debate, and been more frequently quoted as film The Matrix (1999), written and directed by Andy and Larry Wachowski. This paper analyzes allusions to the film in four works of contemporary Russian prose fiction. These works exploit, to various degrees, The Matrix in order to evoke visual representations from the film, and to draw on structural concepts and similarities. Further, I argue that references to The Matrix are made in order to benefit from the film’s eclectic mythological concepts and transpose them to the literary realm. This kind of cross-fertilization could be seen as a growing trend where the borders between different media are becoming more fluid, and where they benefit from each other, be they novels, films, or computer games.     

The Significance of the Wealth of Nations for Economic Education

Students' understanding of history may be shaped less by their social studies teachers than by the powerfully ubiquitous, historically themed media images they passively consume outside of school. In this article, the author describes two strategies conducted during a classroom-based action research study designed to explore how historically themed film can be used to scaffold activities that encourage middle school students to conduct inquiries of the past and critically evaluate feature films and documentaries. Data collected from student surveys, focus group discussions, assignments, and classroom observations suggested that students benefit from well-structured activities that encourage them to compare historical accounts with cinematic portrayals of the past. In particular, the Know-Wonder-Learn and anticipation guide strategies can encourage critical critical viewing and thinking about how film accounts are created.     

Absent fathers and 'moms', delinquent daughters and mummy's boys: Envisioning the postwar American family in Hitchcock's Notorious

Abstract

This article analyses Alfred Hitchcock's Notorious (1946 USA), paying particular attention to the film's deployment of the figures of the 'absent father' and the 'mom'. The article examines the intertextual relationships that connect these representational figures in the film to a range of other sites within the contemporary culture where anxieties concerning these figures were articulated. The article thus presents a contextualized reading of the film that connects the film to some of the key discourses of its moment and, through this reading, argues for the necessity for film scholars to consider the impact of extrinsic historical influences in shaping the narrative concerns of Hollywood films, and for a shift away from the traditional taxonomic conception of genre toward a more fluid conception that allows genres of discourse to be traced through unlikely groupings of films and other contemporary cultural artefacts.     

Attitude Change among College Students toward Homosexuality

Abstract

Although audio-visual materials are commonly used on college and university campuses, frequently those materials are not evaluated to determine what impact they may have on students' attitudes. The present research compared the effect of three audio-visual programs on attitudes of college students toward homosexuality. The three programs included a film that dealt with prejudice towards numerous groups but not towards homosexuals; a video-tape of a homosexual clergyman who discussed sexual variance with particular emphasis on homosexuality; and two films in which couples were explicitly engaging in homosexual behavior. A control group was used. All groups received a lecture about homosexuality.

Using a two-way analysis of covariance, significant differences were found among the groups. Subjects that watched the film on prejudice and the video-tape of a discussion of homosexuality, as well as the control group, were all significantly more tolerant toward homosexuality than subjects who watched the explicit films. The difference among groups was immediate only. Five weeks after exposure to audio-visual programs, there were no significant differences. There was no significant difference between males and females, either immediately after seeing the programs or five weeks later. Thus, attitudes of college students toward homosexuality can be altered and were not gender specific.     

The portrayal of older characters in Disney animated films

Stereotypes arise in children's lives from their direct experience and also from the media. Today, television and movies serve as an important socializing function supplying many children with images that can form, change, and reinforce stereotypes. Researchers have found that by the time children enter elementary school, they have already developed negative views of older adults. This research examines the representation of older people in Disney animated film in terms of their gender, race, appearance, role, personality, and physical characteristics of older characters. Disney films hold a prominent position in children's media consumption and children today come to know Disney's characters and stories just as their parents and grandparents. The findings indicate that while the majority of older characters are portrayed as positive characters, there is still a large percentage that is portrayed in a negative manner. These results help explain why children have negative feelings toward older people.     

Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness

This article engages the limits of both film and race studies in their approach to heterogeneous and “low” forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore’s films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today’s hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of “signifying”, advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets — and grounds a claim for why we should take “bad” black film seriously. Close film and context analysis illustrates how Moore’s low‐budget films “signify” on Hollywood and the system of expectancies that go with putatively “good” filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore’s films contribute to the long history and rich language of “toasting” in African American oral culture and music. As such, far from being emblematic of black filmmaking’s impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video.     

The United States Court of Claims

Teaching with film is viewed as a pedagogical best practice, especially when teaching historical or social studies content. Many of the most popular films used to teach history topics leave women's voices out of the narrative. Women's history is generally left out of traditionally male-dominated history curriculum; when it is included, it is usually in the margins or in sidebars. This article promotes the use of historical films that have a female presence. How women are portrayed in film and how to choose films that meet the criteria of the Bechdel Test for women in film are also examined.     

JUNO (JASON REITMAN, 2007): A PRACTICAL CASE STUDY OF TEENS,FILM AND CULTURAL STUDIES

Jason Reitman's Juno (2007), the story of how a teenager handles her pregnancy, is the kind of film that leaves no one indifferent. Released at a time of conflicting discourses on sexual education, Reitman's film addressed the confusion experienced by teenagers as they came of age in a context where patterns of masculine and feminine behaviour were rapidly changing. In this essay I argue that Juno offers a complex understanding of the disorientation suffered by adolescents during the 1990s – a time when anti-sex discourses coexisted with an increasingly sexualized youth culture. This said, my intention is to move towards the film in a roundabout way by focusing, first, on why so many, supposed ‘cultural criticisms’ of films turn out to be so superficial. In this introductory section, the argument will be made for an approach in film analyses that takes full account of cinema as a visual medium. After exposing my critical stance, I shall draw nearer to the film itself by examining various of the overlapping contexts that, together, created a conducive space for its success – namely, the political scene; changing attitudes towards sex and gender; and most importantly, cinema's aesthetic dimension and the impact of genre conventions in the film-viewing experience. Once the complex diagram of differing (and sometimes contradictory) forces at work in Juno has been mapped out, my aim is to link these conjunctures to a detailed analysis of a key scene in the film as a means of demonstrating how the combination of film studies and Cultural Studies can operate as a method that eschews too easy, ideologically oriented, assumptions.     

visualizing white‐collar crime

This study examines how film‐makers construct images of white‐collar crime in genre film. Data consist of twenty‐four white‐collar films in two genres: thrillers and comedies. Results indicate that images of white‐collar crime vary significantly by genre. Thrillers contain few visuals of white‐collar crimes and white‐collar offenders. Instead film‐makers use more familiar images of violence to create thrills. Comic film‐makers use standard sight gags to make images of white‐collar offenders and their crimes funny. When comic film‐makers find humor in the content of the subject matter, they construct images of white‐collar criminals and their crimes to clearly communicate the structure of each joke to the audience. Visual images of victims are not predominant in these films, especially in white‐collar comedies. The analysis reveals more than film‐making techniques. It begins to uncover cultural codes that frame white‐collar crime and illuminate its relative unimportance in the public arena, especially when compared to other crimes.     

Fear,Shame, and Health Promotion

Abstract

Drinking games are associated with excess alcohol use and alcohol-related problems, yet it is unclear whether they are unique to the college environment or whether students come to college familiar with such games. The authors queried 1,252 students attending voluntary summer orientation programs about their experiences with drinking games. A majority (63%) indicated they had played drinking games and viewed them as a means to get drunk quickly and to socialize, control others, or get someone else drunk. Logistic regression analyses revealed that familiarity with drinking situations was associated with a greater likelihood of playing drinking games. Students who reported drinking more frequently and consuming greater quantities of alcohol than others, having lifetime marijuana use, and initiating alcohol consumption between the ages of 14 and 16 years were significantly more likely to have participated in drinking games. These findings demonstrate the importance of considering students' participation in drinking games when campus officials address alcohol use.     

Martial arts and the globalization of US and Asian film industries

Abstract

This article investigates how globalization is affecting film industries in the USA and Asia. It argues that these industries are becoming more closely integrated with one another both materially and aesthetically, and that this in turn is leading to the denationalization of individual films and film industries on both sides of the Pacific. The article explores how globalization is experienced differently by different film industries – and by different sectors within individual industries – and how it entails both losses and opportunities for Asian film makers. Taking the contemporary Hollywood and East Asian martial arts film as an exemplary cultural style of globalization, it also looks at how integration involves both cultural homogenization and the production of difference. Specific topics discussed include the growth of Hollywood's Asian markets, Jackie Chan and the flow of Hong Kong talent into Hollywood, Hollywood remakes of South Korean movies, the resurgence of Asian film industries, Hollywood's local-language film production and Zhang Yimou's Hero.     

Evaluation in the Social Studies

Online role-playing games such as World Of Warcraft represent new participatory cultures in which today's students engage every day. They are appealing to players largely because of the social aspects of game play. Some features of massively multiplayer online role-playing games (MMORPGs) can be incorporated into classroom culture to create more dynamic interactions between students and improve both content instruction and civic competence.     

Teachers' and School Children's Stereotypic Perception of the Child of Divorce: 20 Years Later

ABSTRACT

This is a replica of a study carried out in 1988. Its main objective is to reexamine after 20 years how teachers' and 8th-grade students' evaluations of a child's academic, social, and emotional functioning are affected by the knowledge that the child's parents are divorced. One hundred and twenty junior high school students and 115 female teachers watched a specially produced film of a child engaged in various activities. The child's gender and family structure were experimentally manipulated. The main results show that whereas in the earlier study both teachers and the students rated the child of divorce more negatively than the child of an intact family, in this study this was true only for the teachers. These and other results are discussed in the context of cultural attitudes, the more extensive contact teachers have with children of divorce, and the risk that they and their students become trapped in the Pygmalion cycle.     

Communicating globalization in Bombay cinema: Everyday life,imagination and the persistence of the local

Abstract

Bollywood films increasingly portray the life-worlds of India's urban middle class and their transnational connections. Characters in the Hindi-language films use English phrases, cell phones and computers, celebrate Valentine's Day and are seen to frequent exercise clubs and shopping malls. The non-resident Indian, or NRI, symbol of the diaspora, is now a fixture in these films, often the hero and portrayed as part of the familial world and social circle of the urban middle classes. This, combined with the way a large portion of the films depict settings outside India, in Switzerland, Mauritius, the UK and North America, have led critics to question the Indian-ness of the films. This article examines the deterritorialized narrative of Bollywood film for its communication of globalization and transnationalism. It argues that Bombay films address broader debates in the study of transnationalism, such as the significance of the local in a postnational world. The films offer insights into the production of locality by communicating a sense of place as feeling rather than representations based solely on geography or territory, so making a case for a topography of affect as meaningful for a phenomenology of globalization.     

'Samuel Bronston's Latest Epic': Spectacle,Heterogeneity and Nation in the Critical Reception of El Cid (1961)

Abstract

Although El Cid is now regarded by many as a classic, the New York Times was heavily critical of the film on its initial release in the US. This essay examines the contexts that shaped the film's reception in the early 1960s, and demonstrates that, although the New York Times was often explicitly critical of the spectacle associated with historical epics such as El Cid, its film critics were actually more concerned with the ways in which these films threatened cultural distinctions between popular and legitimate culture. Furthermore, it demonstrates that, although the New York Times was critical of historical epics during the late 1940s and the 1950s, it became far more hostile in the early 1960s, when El Cid was released, a period in which Hollywood was facing competition from film-makers working overseas such as Dino De Laurentiis and Samuel Bronston. The essay will therefore illustrate that, while the stated objection of the New York Times critics was to the spectacle of these historical epics, the vitriol that these films received from these critics was due to the way in which they not only threatened distinctions between high and low culture but also between Hollywood and European national cinemas.     

A Cesspool of Intrigue: Les' Kurbas,Oleksandr Dovzhenko,and the Film Industry in 1920s Soviet Ukraine

Abstract

In the 1920s, theatre innovator Oleksandr “Les'” Kurbas (1887–1937) made three short films for the Vseukrains'ke Foto-Kino Upravlinnia [All-Ukrainian Photo-Cinema Administration] or VUFKU. His film career was short-lived, however. Lambasting the VUFKU as a “cesspool of intrigue,” Kurbas left film for good to focus exclusively on theatre. His films never gained wide release, and have since been lost. Kurbas’s brief foray into cinema could therefore be considered a non-moment, yet because Kurbas objected not to the medium itself, but to the institutions creating film, his encounter with the VUFKU illuminates the larger process of the formation of the Soviet film industry. Kurbas’s departure from film occurred simultaneously with the arrival of Oleksandr Dovzhenko (1894–1956), and their crossed paths show how the structure of the Soviet film industry shaped artistic possibilities. The institutional transformation of VUFKU into Ukrainfilm, the regional affiliate of the all-Union film monopoly Soiuzkino, signalled a cultural shift: from a film industry in Soviet Ukraine, to a Soviet Ukrainian film industry, one both part of wider Soviet cinema production and slotted specifically into a Ukrainian niche. Ultimately, this article argues that this process of consolidation and centralization in the film industry complicated the development of culture in the Soviet regions.     

Japanese Modernity and Media Studies of Screens

This article aims to construct a new perspective for analyzing the recent omnipresence of screens, the diversity of images, and their impact on our daily lives. Because of the diversification of digitalized images today, research based on film and television studies is unable to grasp the fluid relationships among screen images, spaces, and the bodies of their audience, and important task for recent scholarship is to determine how to include these screen images in media and cultural studies. In response to this issue, this article seeks to reconstruct the concept of screen practice, guided by the perspectives of Jonathan Crary and Friedrich Kittler on media and practices; Koji Taki and Ai Maeda's historical research on Japanese modernity; and Erkki Huhtamo and Yussi Parikka's media archaeological perspectives for screen and visual culture. Although the notion of screen practice was originally proposed in the field of film history, it should be expanded for broader screen cultures as the sites at which scientific discourses and technologies act on the bodies of viewers. Taking the experiences of Japanese modernity as its subject, this is a critical issue, because at these sites we can find traces of dynamic negotiations between the circulation of science and media derived from Western modernity, and existing physical and cultural vernacular practices. Moreover, going back to the screen cultures at the end of the 19th century will make clear how the process of our contemporary media environment was formed.     

The Invention of Prestige: People on the Mountain and the Politics of the National

People on the Mountain (Sz?ts 1941) enjoys special standing in Hungarian film historiography: critics have hailed its use of real locations, deep humanity and sympathy for the downtrodden, and saw in it a precursor of Italian neorealism. This article argues that celebrations of the film's humanity and claims of its position apart from the ideologically inflected films of the period are misplaced, and that such critical readings are simply not justified by the historical context. Further, People on the Mountain is in fact the product of a state-controlled film industry and claims of the film's kinship with neorealism are greatly overstated. The article concludes by demonstrating that, contrary to accounts of unfavourable official reception, the film was very well received by industry bosses and state officials and links its reception to the film's use of a radical nationalist discourse which claimed for Hungarians precedence in Transylvania.