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cinema</title> <meta name="description" content="Search results for: new german cinema"> <meta name="keywords" content="new german cinema"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="new german cinema"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 483</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: new german cinema</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">483</span> When the Children Touched the Paintings: New German Cinema, the Red Army Faction, and their Filmic Afterlives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rudy%20Ralph%20Martinez">Rudy Ralph Martinez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The 1960s provided us with some of the most iconic protest images of the late-20th century. This was the result of worldwide unrest and the proliferation of filmmaking equipment, which led to a flood of photos and films depicting war and activism. Many of these images and films played a pivotal role in shaping the ever-evolving discussions surrounding the ‘60s. However, too often, radical imagery finds itself subsumed by consumer culture, a degradation that flattens radical imagery and turns it into consumer products. With this in mind, the work that follows is an analysis of one of the little-discussed chapters of the 60s and 70s, and it is that of the New German Cinema movement and its relationship with the Rote Armee Fraktion, or Red Army Faction (RAF), an armed Marxist-Leninist group founded in West Germany in 1970. The RAF arose out of a milieu which included student activists protesting Western military involvement in the Vietnam War, civil rights activists, and third world guerillas. The actions undertaken by the group throughout their first decade in existence, including bombings, and assassinations, would create West Germany’s most dire political crisis since the Nazi era, culminating in a crisis of legitimation remembered as the German Autumn, which saw the suicides of several of the militants and the assassination of SS officer-cum-prominent industrialist, Hans Martin-Schleyer. Throughout the 1970s, young filmmakers associated with the New German Cinema sought to analyze the political situation as it was unfolding, their films contributing to the public discourse in concomitance with the government and the media. Four notable examples of these films are Volker Schlöndorff and Margarethe von Trotta’sDie Verlorene Ehre der Katharina Blum oder: Wie Gewaltentstehen und wohinsieführenkann (The Lost Honour of Katharina Blum, or: How Violence Develops and Where it Can Lead) (1975), a dark drama about the media’s role in forming public opinion, Deutschland im Herbst(Germany in Autumn) (1977), an experimental collective work released mere months after the German Autumn, Rainer Werner Fassbinder’s Die Dritte Generation (The Third Generation) (1979), a satire about an inept cell of radical militants, and Die bleierne Zeit (The Leaden Time, alt. title: Marianne and Juliane) (1981), an intimate portrayal about two sisters whose activism leads them down disparate paths. The filmmakers of the New German Cinema refused to underline their films with the Manichaean claims respectively espoused by the RAF and the government. These complex portrayals found offspring in films such as Christian Petzold’s Die innere Sicherheit(The State I Am In) (2000), a portrait of a family on the run after the reunification of Germany but were countered by glossy high-budget portrayals such as Uli Edel’s Der Baader-Meinhof Komplex(The Baader-Meinhof Complex) (2008). In focusing on the aesthetic structure of these films in relation to the political atmosphere of the late-60s and 70s West Germany, I hope to shed light on questions concerning spectatorship, surveillance, the role of journalism, and how politics disrupts personal relationships, and the kinship between artists and so-called terrorists. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=new%20german%20cinema" title="new german cinema">new german cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20history" title=" film history"> film history</a>, <a href="https://publications.waset.org/abstracts/search?q=red%20army%20faction" title=" red army faction"> red army faction</a>, <a href="https://publications.waset.org/abstracts/search?q=german%20cinema" title=" german cinema"> german cinema</a> </p> <a href="https://publications.waset.org/abstracts/149432/when-the-children-touched-the-paintings-new-german-cinema-the-red-army-faction-and-their-filmic-afterlives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149432.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">482</span> Society and Cinema in Iran </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seyedeh%20Rozhano%20Azimi%20Hashemi">Seyedeh Rozhano Azimi Hashemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There is no doubt that ‘Art’ is a social phenomena and cinema is the most social kind of art. Hence, it’s clear that we can analyze the relation’s of cinema and art from different aspects. In this paper sociological cinema will be investigated which, is a subdivision of sociological art. This term will be discussed by two main approaches. One of these approaches is focused on the effects of cinema on the society, which is known as “Effects Theory” and the second one, which is dealing with the reflection of social issues in cinema is called ” Reflection Theory”. "Reflect theory" approach, unlike "Effects theory" is considering movies as documents, in which social life is reflected, and by analyzing them, the changes and tendencies of a society are understood. Criticizing these approaches to cinema and society doesn’t mean that they are not real. Conversely, it proves the fact that for better understanding of cinema and society’s relation, more complicated models are required, which should consider two aspects. First, they should be bilinear and they should provide a dynamic and active relation between cinema and society, as for the current concept social life and cinema have bi-linear effects on each other, and that’s how they fit in a dialectic and dynamic process. Second, it should pay attention to the role of inductor elements such as small social institutions, marketing, advertisements, cultural pattern, art’s genres and popular cinema in society. In the current study, image of middle class in cinema of Iran and changing the role of women in cinema and society which were two bold issue that cinema and society faced since 1979 revolution till 80s are analyzed. Films as an artwork on one hand, are reflections of social changes and with their effects on the society on the other hand, are trying to speed up the trends of these changes. Cinema by the illustration of changes in ideologies and approaches in exaggerated ways and through it’s normalizing functions, is preparing the audiences and public opinions for the acceptance of these changes. Consequently, audience takes effect from this process, which is a bi-linear and interactive process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranian%20Cinema" title="Iranian Cinema">Iranian Cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Cinema%20and%20Society" title=" Cinema and Society"> Cinema and Society</a>, <a href="https://publications.waset.org/abstracts/search?q=Middle%20Class" title=" Middle Class"> Middle Class</a>, <a href="https://publications.waset.org/abstracts/search?q=Woman%E2%80%99s%20Role" title=" Woman’s Role "> Woman’s Role </a> </p> <a href="https://publications.waset.org/abstracts/26021/society-and-cinema-in-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26021.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">340</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">481</span> Political Cinema: Rewriting The Malaysian Political History Through Documentary Films </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raja%20Rodziah%20Binti%20Raja%20Zainal%20Hassan">Raja Rodziah Binti Raja Zainal Hassan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The development of Malaysian political cinema is rapidly taking shape in the local film industry. The paper focuses on the production of independent political documentary by two Malaysian filmmakers, Amir Muhammad and Fahmi Reza. Revolutionary cinema can be understood by utilizing the Third Cinema Theory in order to analyse the meaning and its impact on the audience. The issue surrounding the political cinema in Malaysia is the question of national identity. The implementation of racial or ethnic based politics has resulted in hostility within Malaysia’s multiracial society. Amir Muhammad and Fahmi Reza revisit the Malaysian political history through their films in order to understand the reasons behind the hostility and conflict. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Political%20cinema" title="Political cinema">Political cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=third%20cinema%20theory" title=" third cinema theory"> third cinema theory</a>, <a href="https://publications.waset.org/abstracts/search?q=revolutionary%20cinema" title=" revolutionary cinema"> revolutionary cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=racial%20or%20ethnic%20politics" title=" racial or ethnic politics"> racial or ethnic politics</a> </p> <a href="https://publications.waset.org/abstracts/2388/political-cinema-rewriting-the-malaysian-political-history-through-documentary-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2388.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">433</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">480</span> Effects of Exposing Learners to Speech Acts in the German Teaching Material Schritte International: The Case of Requests </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wan-Lin%20Tsai">Wan-Lin Tsai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Speech act of requests is an important issue in the field of language learning and teaching because we cannot avoid making requesting in our daily life. This study examined whether or not the subjects who were freshmen and majored in German at Wenzao University of Languages were able to use the linguistic forms which they had learned from their course book Schritte International to make appropriate requests through dialogue completed tasks (DCT). The results revealed that the majority of the subjects were unable to use the forms to make appropriate requests in German due to the lack of explicit instructions. Furthermore, Chinese interference was observed in students' productions. Explicit instructions in speech acts are strongly recommended. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20interference" title="Chinese interference">Chinese interference</a>, <a href="https://publications.waset.org/abstracts/search?q=German%20pragmatics" title=" German pragmatics"> German pragmatics</a>, <a href="https://publications.waset.org/abstracts/search?q=German%20teaching" title=" German teaching"> German teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=make%20appropriate%20requests%20in%20German" title=" make appropriate requests in German"> make appropriate requests in German</a>, <a href="https://publications.waset.org/abstracts/search?q=speech%20act%20of%20requesting" title=" speech act of requesting"> speech act of requesting</a> </p> <a href="https://publications.waset.org/abstracts/36772/effects-of-exposing-learners-to-speech-acts-in-the-german-teaching-material-schritte-international-the-case-of-requests" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36772.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">465</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">479</span> Transnationalization Strategies of Danish Cinema: Susanne Bier, Lone Scherfig</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebru%20Thwaites%20Diken">Ebru Thwaites Diken</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=danish%20cinema" title="danish cinema">danish cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20cinema" title=" transnational cinema"> transnational cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=susanne%20bier" title=" susanne bier"> susanne bier</a>, <a href="https://publications.waset.org/abstracts/search?q=lone%20scherfig" title=" lone scherfig"> lone scherfig</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20cinema" title=" national cinema"> national cinema</a> </p> <a href="https://publications.waset.org/abstracts/168234/transnationalization-strategies-of-danish-cinema-susanne-bier-lone-scherfig" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168234.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">69</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">478</span> Representation of the Disabled in Turkish Cinema from a Dramatological Frame</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Esra%20Ince">Esra Ince</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As an important means of cultural transmission, cinema is an important resource for seeing cultural and social definitions, meanings and descriptions of people with disabilities. This study is aimed to reveal how disabled people are represented in the films selected from Turkish cinema. For this purpose, the films were examined with qualitative content analysis. The Goffmanian perspective was adopted in the study. The relationship between disability and stigma has been tried to be explained. How the disabled, which Goffman defines as a stigmatized group due to their differences, are represented in the cinema has been examined within the dramaturgy model. In the research, it was seen that the disabled characters took place in similar representations in different regions of dramaturgy. It has been seen that the films reinforce the negative discourse and behaviors by reflecting the prejudices, attitudes and behaviors in the society and continue to stigmatize disability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability" title="disability">disability</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkish%20cinema" title=" Turkish cinema"> Turkish cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Goffman" title=" Goffman"> Goffman</a>, <a href="https://publications.waset.org/abstracts/search?q=stigma" title=" stigma"> stigma</a> </p> <a href="https://publications.waset.org/abstracts/170316/representation-of-the-disabled-in-turkish-cinema-from-a-dramatological-frame" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170316.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">477</span> The Triple Interpretation of German Historicism and its Theoretical Contribution to Historical Materialism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dandan%20Zhang">Dandan Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Elucidating the original relationship between historical materialism and German historicism from the internal dimension of intellectual history has important theoretical significance for deep understanding and interpretation of the essential characteristics of historical materialism. German historicism contains the triple deduction of scientific historicism, historical relativism, and vitalism. The historicism of science argues for its historical status as science in the name of objective, systematic, and typical research methods, and procedural principles. Historical relativism places history under the specific historical background to study epistemological and methodological issues about the nature of human beings and the value of history. German historicism walks up to natural and cultural relativism on the basis of romanticism. Vitalism emphasizes intuition, will, and experience of life from individuals and places history on the ontology of organic life and vitality. Historical materialism and German historicism have a theoretical relationship in the genetic field. The former criticizes and surpasses the latter. Meanwhile, in the evolution of German historicism, the differences between historical materialism with it are essential features of historical science. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=German%20historicism" title="German historicism">German historicism</a>, <a href="https://publications.waset.org/abstracts/search?q=scientific%20historicism" title=" scientific historicism"> scientific historicism</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20relativism" title=" historical relativism"> historical relativism</a>, <a href="https://publications.waset.org/abstracts/search?q=vitalism" title=" vitalism"> vitalism</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20materialism" title=" historical materialism"> historical materialism</a> </p> <a href="https://publications.waset.org/abstracts/186414/the-triple-interpretation-of-german-historicism-and-its-theoretical-contribution-to-historical-materialism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186414.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">44</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">476</span> Start-Up Education at German Universities: A Website Based Research and Concept Development for Start-Ups with Focus on Venture Capital and Internationalization</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Julia%20Braun">Julia Braun</a>, <a href="https://publications.waset.org/abstracts/search?q=Sinikka%20Treuger"> Sinikka Treuger</a>, <a href="https://publications.waset.org/abstracts/search?q=Magdalena%20Mi%C3%9Fler-Behr"> Magdalena Mißler-Behr</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The support of start-ups at German universities is an elementary part of the efforts of the universities. Targeted support for innovative and technology-oriented start-ups is an important prerequisite for successful founding. The present study provides in a first research information on whether German universities have concepts and strategies for promoting the internationalization of start-ups, with a focus on various international markets, and whether they have the ability to successfully raise venture capital. The question is clarified as to how many universities in Germany have programs or concepts for the promotion of start-ups and whether they have already established an internationalization concept for the start-ups. Furthermore, it is shown whether the concepts found focus on the acquisition of venture capital. For this research, a website-based search of the concepts at German universities is carried out and evaluated. In a second study, an online survey at a selected German university is used to evaluate whether there is a general interest in such a concept. After that, a possible concept is derived. The aim of the research is to show the current status of German universities and to give an elaborated example of an education concept for a university which can be adapted by other universities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education%20concept" title="education concept">education concept</a>, <a href="https://publications.waset.org/abstracts/search?q=german%20universities" title=" german universities"> german universities</a>, <a href="https://publications.waset.org/abstracts/search?q=internatinalization" title=" internatinalization"> internatinalization</a>, <a href="https://publications.waset.org/abstracts/search?q=start-ups" title=" start-ups"> start-ups</a>, <a href="https://publications.waset.org/abstracts/search?q=venture%20capital" title=" venture capital"> venture capital</a> </p> <a href="https://publications.waset.org/abstracts/155187/start-up-education-at-german-universities-a-website-based-research-and-concept-development-for-start-ups-with-focus-on-venture-capital-and-internationalization" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155187.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">124</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">475</span> Relationship between Cinema and Culture: Reel and Real life in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prachi%20Chavda">Prachi Chavda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world, as of today, is smaller than it was for those who lived few decades ago. Internet, media and telecommunications have impacted the world like never before. Culture is the pillar upon which a society mushrooms. A culture develops with human creativity over the years and also by the exchange and intermixing of ideas and way of life across different civilizations and we can say that one of the influencing medium of exchange and intermixing of these ideas is cinema. Cinema has been the wonderful as well as important medium of communication since it has been emerged. Change is the thumb rule of life and so have been Indian cinema. As society has evolved from time to time so has the stories of Indian Cinema and its characters, hence it directly effects to the Indian culture as cinema has been very strong mediator for information exchange. The paper tries to discuss deeply how Indian cinema (reel life) and Indian culture (real life) has been influencing each other that results into a constant modification in both. Moreover, the research tries to deal with the issue with some examples that as a outcome how movies impact the Indian culture positively and negatively on culture. Therefore, it spreads the wave of change in cultural settings of society. The paper also tries to light the psychology of youth of India. Today, children and youth greatly admire the ostentatious materialistic display of outfits and style of the actors in the movies. Also, the movies bearing romanticism and showcasing disputatious issues like pre-marital sex, live-in relationship, homo-sexuality etc. though without highlighting them extensively have indeed inspired the commoners. Pros and cons always exist. Such revelation of issues certainly give a spark in the minds of those who are in their formative years and the effect of which is seen with the passage of time Thus, we can say that emergence of cinema as a strong tool of social change as well as culture as a triggering factor for transformation in cinema. As, a finding we can say that culture and cinema of India are influencing factors for each other. Cinema and culture are two sides of a coin, where both are responsible for evolution of each other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=influence" title=" influence"> influence</a>, <a href="https://publications.waset.org/abstracts/search?q=transformation" title=" transformation"> transformation</a> </p> <a href="https://publications.waset.org/abstracts/36964/relationship-between-cinema-and-culture-reel-and-real-life-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36964.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">396</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">474</span> Culture Sensitization: Understanding German Culture by Learning German</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lakshmi%20Shenoy">Lakshmi Shenoy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In today’s era of Globalization, arises the need that students and professionals relocate temporarily or permanently to another country in order to pursue their respective academic and career goals. This involves not only learning the local language of the country but also integrating oneself into the native culture. This paper explains the method of understanding a nation’s culture through the study of its language. The method uses language not as a series of rules that connect words together but as a social practice in which one can actively participate. It emphasizes on how culture provides an environment in which languages can flourish and how culture dictates the interpretation of the language especially in case of German. This paper introduces language and culture as inseparable entities, as two sides of the same coin. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=language%20and%20culture" title="language and culture">language and culture</a>, <a href="https://publications.waset.org/abstracts/search?q=sociolinguistics" title=" sociolinguistics"> sociolinguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=Ronald%20Wardhaugh" title=" Ronald Wardhaugh"> Ronald Wardhaugh</a>, <a href="https://publications.waset.org/abstracts/search?q=German" title=" German "> German </a> </p> <a href="https://publications.waset.org/abstracts/82455/culture-sensitization-understanding-german-culture-by-learning-german" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82455.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">305</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">473</span> Austrian Standard German Struggling between Language Change, Loyalty to Its Variants and Norms: A Study on Linguistic Identity of Austrian Teachers and Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jutta%20Ransmayr">Jutta Ransmayr</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The German language is known to be one of the most varied and diverse languages in Europe. This variance in the standard language can be conceptualized using the pluricentric concept, which has been useful for describing the German language for more than three decades. Up to now, there have hardly been any well-founded studies of how Austrian teachers and pupils conceptualize the German language and how they view the varieties of German and especially Austrian German. The language attitudes and norms of German teachers are of particular interest in the normative, educational language-oriented school context. The teachers’ attitudes are, in turn, formative for the attitudes of the students, especially since Austrian German is an important element in the construction of Austrian national identity. The project 'Austrian German as a Language of Instruction and Education' dealt, among other things, with the attitude of language laypeople (pupils, n = 1253) and language experts (teachers, n = 164) towards the Austrian standard variety. It also aimed to find out to what extent external factors such as regional origin, age, education, or media use to influence these attitudes. It was examined whether language change phenomena can be determined and to what extent language change is in conflict with loyalty to variants. The study also focused on what norms prevail among German teachers, how they deal with standard language variation from a normative point of view, and to what extent they correct exonorm-oriented, as claimed in the literature. Methodologically, both quantitative (questionnaire survey) and qualitative methods were used (interviews with 21 teachers, 2 group discussions, and participatory observation of lessons in 7 school classes). The data were evaluated in terms of inference statistics and discourse analysis. This paper reports on the results of this project. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Austrian%20German" title="Austrian German">Austrian German</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20attitudes%20and%20linguistic%20identity" title=" language attitudes and linguistic identity"> language attitudes and linguistic identity</a>, <a href="https://publications.waset.org/abstracts/search?q=linguistic%20loyalty" title=" linguistic loyalty"> linguistic loyalty</a>, <a href="https://publications.waset.org/abstracts/search?q=teachers%20and%20students" title=" teachers and students"> teachers and students</a> </p> <a href="https://publications.waset.org/abstracts/131728/austrian-standard-german-struggling-between-language-change-loyalty-to-its-variants-and-norms-a-study-on-linguistic-identity-of-austrian-teachers-and-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131728.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">117</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">472</span> Acquisition of the Attributive Adjectives and the Noun Adjuncts by the L3 Learners of French and German: Further Evidence for the Typological Proximity Model</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Akbar%20Jabbari">Ali Akbar Jabbari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the role of the prior acquired languages, Persian and English, concerning the acquisition of the third language (L3) French and German at the initial stages. The data were collected from two groups of L3 learners: 28 learners of L3 French and 21 learners of L3 German, in order to test the placement of the attributive adjectives and the noun adjuncts through a grammaticality judgment task and an element rearrangement task. The aim of the study was to investigate whether any of the models proposed in the L3 acquisition could account for the case of the present study. The results of the analysis revealed that the learners of L3 German and French were both affected by the typological similarity of the previous languages. The outperformance of the German learners is an indication of the facilitative effect of L2 English (which is typologically more similar to the German than that of French). English had also a non-facilitative role in the acquisition of French and this is proved in the lower performance of the French learners. This study provided evidence for the TPM as the most accepted model of L3 acquisition. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cross-linguistic%20influence" title="cross-linguistic influence">cross-linguistic influence</a>, <a href="https://publications.waset.org/abstracts/search?q=multilingualism" title=" multilingualism"> multilingualism</a>, <a href="https://publications.waset.org/abstracts/search?q=third%20language%20acquisition" title=" third language acquisition"> third language acquisition</a>, <a href="https://publications.waset.org/abstracts/search?q=transfer" title=" transfer"> transfer</a> </p> <a href="https://publications.waset.org/abstracts/104680/acquisition-of-the-attributive-adjectives-and-the-noun-adjuncts-by-the-l3-learners-of-french-and-german-further-evidence-for-the-typological-proximity-model" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104680.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">183</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">471</span> Representation of Memory of Forced Displacement in Central and Eastern Europe after World War II in Polish and German Cinemas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ilona%20Copik">Ilona Copik</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this study is to analyze the representation of memories of the forced displacement of Poles and Germans from the eastern territories in 1945 as depicted by Polish and German feature films between the years 1945-1960. The aftermath of World War II and the Allied agreements concluded at Yalta and Potsdam (1945) resulted in changes in national borders in Central and Eastern Europe and the large-scale transfer of civilians. The westward migration became a symbol of the new post-war division of Europe, new spheres of influence separated by the Iron Curtain. For years it was a controversial topic in both Poland and Germany due to the geopolitical alignment (the socialist East and capitalist West of Europe), as well as the unfinished debate between the victims and perpetrators of the war. The research premise is to take a comparative view of the conflicted cultures of Polish and German memory, to reflect on the possibility of an international dialogue about the past recorded in film images, and to discover the potential of film as a narrative warning against totalitarian inclinations. Until now, films made between 1945 and 1960 in Poland and the German occupation zones have been analyzed mainly in the context of artistic strategies subordinated to ideology and historical politics. In this study, the intention is to take a critical approach leading to the recognition of how films work as collective memory media, how they reveal the mechanisms of memory/forgetting, and what settlement topoi and migration myths they contain. The main hypothesis is that feature films about forced displacement, in addition to the politics of history - separate in each country - reveal comparable transnational individual experiences: the chaos of migration, the trauma of losing one's home, the conflicts accompanying the familiar/foreign, the difficulty of cultural adaptation, the problem of lost identity, etc. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=forced%20displacement" title="forced displacement">forced displacement</a>, <a href="https://publications.waset.org/abstracts/search?q=Polish%20and%20German%20cinema" title=" Polish and German cinema"> Polish and German cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=war%20victims" title=" war victims"> war victims</a>, <a href="https://publications.waset.org/abstracts/search?q=World%20War%20II" title=" World War II"> World War II</a> </p> <a href="https://publications.waset.org/abstracts/167740/representation-of-memory-of-forced-displacement-in-central-and-eastern-europe-after-world-war-ii-in-polish-and-german-cinemas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167740.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">67</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">470</span> Consumer Behavior and Marketing Mixed Factor Effect on Consumer Decision Making for Independent Movies Presented in Lido Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pongsawee%20Supanonth">Pongsawee Supanonth</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to investigate the consumer behavior and marketing mixed factor affect on consumer decision making for independent movies presented in Lido cinema. The research method will use quantitative research, data was collected by questionnaires distributed to the audience in the Lido cinema for 400 sample by accidental sampling technique. Data was analyzed by descriptive statistic including percentage, mean, standard deviation and inferential statistic including independent t-test for hypothesis testing. The results showed that marketing mixed factors affecting consumer decision-making for Independent movies presented in Lido cinema by gender as different as less than the 0.05 significance level, it was found that the kind of movie ,quality of theater ,price of ticket, facility of watching movies, staff services and promotion of Lido cinema respectively had a vital influence on their attention and response which makes the advertisement more attractive is in harmony with the research hypotheses also. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=consumer%20behavior" title="consumer behavior">consumer behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing%20mixed%20factor" title=" marketing mixed factor"> marketing mixed factor</a>, <a href="https://publications.waset.org/abstracts/search?q=resonance" title=" resonance"> resonance</a>, <a href="https://publications.waset.org/abstracts/search?q=consumer%20decision%20making" title=" consumer decision making"> consumer decision making</a>, <a href="https://publications.waset.org/abstracts/search?q=Lido%20cinema" title=" Lido cinema"> Lido cinema</a> </p> <a href="https://publications.waset.org/abstracts/39943/consumer-behavior-and-marketing-mixed-factor-effect-on-consumer-decision-making-for-independent-movies-presented-in-lido-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39943.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">311</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">469</span> Susanne Bier, Lone Scherfig: Transnationalization Strategies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebru%20Thwaites%20Diken">Ebru Thwaites Diken</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=transnational%20cinema" title="transnational cinema">transnational cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=danish%20cinema" title=" danish cinema"> danish cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=susanne%20bier" title=" susanne bier"> susanne bier</a>, <a href="https://publications.waset.org/abstracts/search?q=lone%20scherfig" title=" lone scherfig"> lone scherfig</a> </p> <a href="https://publications.waset.org/abstracts/178034/susanne-bier-lone-scherfig-transnationalization-strategies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/178034.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">74</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">468</span> The Views of German Preparatory Language Programme Students about German Speaking Activity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eda%20%C3%9Cst%C3%BCnel">Eda Üstünel</a>, <a href="https://publications.waset.org/abstracts/search?q=Seval%20Karacabey"> Seval Karacabey</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The students, who are enrolled in German Preparatory Language Programme at the School of Foreign Languages, Muğla Sıtkı Koçman University, Turkey, learn German as a foreign language for two semesters in an academic year. Although the language programme is a skills-based one, the students lack German speaking skills due to their fear of making language mistakes while speaking in German. This problem of incompetency in German speaking skills exists also in their four-year departmental study at the Faculty of Education. In order to address this problem we design German speaking activities, which are extra-curricular activities. With the help of these activities, we aim to lead Turkish students of German language to speak in the target language, to improve their speaking skills in the target language and to create a stress-free atmosphere and a meaningful learning environment to communicate in the target language. In order to achieve these aims, an ERASMUS+ exchange staff (a German trainee teacher of German as a foreign language), who is from Schwabisch Gmünd University, Germany, conducted out-of-class German speaking activities once a week for three weeks in total. Each speaking activity is lasted for one and a half hour per week. 7 volunteered students of German preparatory language programme attended the speaking activity for three weeks. The activity took place at a cafe in the university campus, that’s the reason, we call it as an out-of-class activity. The content of speaking activity is not related to the topics studied at the units of coursebook, that’s the reason, we call this activity as extra-curricular one. For data collection, three tools are used. A questionnaire, which is an adapted version of Sabo’s questionnaire, is applied to seven volunteers. An interview session is then held with each student on individual basis. The interview questions are developed so as to ask students to expand their answers that are given at the questionnaires. The German trainee teacher wrote fieldnotes, in which the teacher described the activity in the light of her thoughts about what went well and which areas were needed to be improved. The results of questionnaires show that six out of seven students note that such an acitivity must be conducted by a native speaker of German. Four out of seven students emphasize that they like the way that the activities are designed in a learner-centred fashion. All of the students point out that they feel motivated to talk to the trainee teacher in German. Six out of seven students note that the opportunity to communicate in German with the teacher and the peers enable them to improve their speaking skills, the use of grammatical rules and the use of vocabulary. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Learning%20a%20Foreign%20Language" title="Learning a Foreign Language">Learning a Foreign Language</a>, <a href="https://publications.waset.org/abstracts/search?q=Speaking%20Skills" title=" Speaking Skills"> Speaking Skills</a>, <a href="https://publications.waset.org/abstracts/search?q=Teaching%20German%20as%20a%20Foreign%20Language" title=" Teaching German as a Foreign Language"> Teaching German as a Foreign Language</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkish%20Learners%20of%20German%20Language" title=" Turkish Learners of German Language"> Turkish Learners of German Language</a> </p> <a href="https://publications.waset.org/abstracts/66249/the-views-of-german-preparatory-language-programme-students-about-german-speaking-activity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/66249.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">321</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">467</span> Lesbian Stereotype Representation in Cinema in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hasan%20G%C3%BCrkan">Hasan Gürkan</a>, <a href="https://publications.waset.org/abstracts/search?q=Rengin%20Ozan"> Rengin Ozan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cinema, as a popular mass media tool, affects the general perception of the society against sexual identity. By establishing on interaction relationship with cinema and social reality, the study also tries to answer what the importance of lesbian identity in social life in films in Turkey is. This article focus on representing the description of the women characters who call their selves lesbian in Turkey cinema. The study tries to answer these three questions: First, how the lesbian characters are represented in films in Turkey? Second, what is the reality of the lesbian sexual identity in the films? Third, what are the differences and similarities between the lesbian characters in films in Turkey before 2000s and after 2000s? The films are analysed by the sociological film interpretation in this study. When comparing the films before 2000 and after 2000, it is possible to say that there have been no lesbian characters in many films. Especially almost all of the films (Haremde Dört Kadın, Ver Elini İstanbul, Dul Bir Kadın, Gramofon Avrat, Lola and Billidikid), during 1960s, just threw looks indirect the lesbian sex identity. Just in the films Düş Gezginleri, İki Genç Kız and Nar, the women character (also called them as lesbian) are the leading role and the plot of the films is progressing over these characters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema%20in%20Turkey" title="cinema in Turkey">cinema in Turkey</a>, <a href="https://publications.waset.org/abstracts/search?q=lesbian%20identity" title=" lesbian identity"> lesbian identity</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype" title=" stereotype"> stereotype</a> </p> <a href="https://publications.waset.org/abstracts/41877/lesbian-stereotype-representation-in-cinema-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41877.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">338</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">466</span> Digital Cinema Watermarking State of Art and Comparison</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20Kelkoul">H. Kelkoul</a>, <a href="https://publications.waset.org/abstracts/search?q=Y.%20Zaz"> Y. Zaz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, the vigorous popularity of video processing techniques has resulted in an explosive growth of multimedia data illegal use. So, watermarking security has received much more attention. The purpose of this paper is to explore some watermarking techniques in order to observe their specificities and select the finest methods to apply in digital cinema domain against movie piracy by creating an invisible watermark that includes the date, time and the place where the hacking was done. We have studied three principal watermarking techniques in the frequency domain: Spread spectrum, Wavelet transform domain and finally the digital cinema watermarking transform domain. In this paper, a detailed technique is presented where embedding is performed using direct sequence spread spectrum technique in DWT transform domain. Experiment results shows that the algorithm provides high robustness and good imperceptibility. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20cinema" title="digital cinema">digital cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=watermarking" title=" watermarking"> watermarking</a>, <a href="https://publications.waset.org/abstracts/search?q=wavelet%20DWT" title=" wavelet DWT"> wavelet DWT</a>, <a href="https://publications.waset.org/abstracts/search?q=spread%20spectrum" title=" spread spectrum"> spread spectrum</a>, <a href="https://publications.waset.org/abstracts/search?q=JPEG2000%20MPEG4" title=" JPEG2000 MPEG4"> JPEG2000 MPEG4</a> </p> <a href="https://publications.waset.org/abstracts/61470/digital-cinema-watermarking-state-of-art-and-comparison" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61470.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">251</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">465</span> Combining Real Actors with Virtual Sets: The Future of Immersive Virtual Reality Fiction Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nefeli%20Dimitriadi">Nefeli Dimitriadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to present immersive cinema where real actors are filmed and integrated in Virtual Reality environments and 360 cinematic narrative, in comparison to 360 filming of real actors and sets and to fully computer graphics animation movies with 3D avatars. Objectives: This reseach aims to present immersive cinema where real actors are integrated in Virrual Reality environments and 360 cinematic narrative as the future of immersive cinema. Meghdology: A comparative analysis is conducted between real actors filming combined with Virtual Reality sets, to 360 filming of real actors and sets, and to fully computer graphics animation movies with 3D avatars, using as case study Virtual Reality movie Neurosynapses and others. Contribution: This reseach contributes in defining the best practices leading to impactful Immersive cinematic narratives. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title="virtual reality">virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=360%20movies" title=" 360 movies"> 360 movies</a>, <a href="https://publications.waset.org/abstracts/search?q=immersive%20cinema" title=" immersive cinema"> immersive cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=directing%20for%20virtual%20reality" title=" directing for virtual reality"> directing for virtual reality</a> </p> <a href="https://publications.waset.org/abstracts/156081/combining-real-actors-with-virtual-sets-the-future-of-immersive-virtual-reality-fiction-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156081.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">120</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">464</span> A 'German Europe' Emerged from the Euro Crisis: A Study through the Portuguese Quality Press</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ana%20Lu%C3%ADsa%20Mouro">Ana Luísa Mouro</a> </p> <p class="card-text"><strong>Abstract:</strong></p> When the financial crisis exploded in 2008 in the United States, unleashed by the collapse of Lehman Brothers, and contaminated the economies of the European periphery, Germany appeared as the anchor of the stability of all European institutions and countries in difficulty. The solutions provided by the German government have triggered a deep political debate about the key position Germany has conquered at the heart of Europe - a new “German question” has been created. Some say Germany has achieved by peaceful means what was not able to get through military conquest - the domination of Europe – and many fear Germany’s economic power. This debate about the new role of Germany in Europe has received special attention in the European media and Portugal has not been the exception. The present study has been based on the survey, selection and critical analysis of news reporting, opinion articles, interviews and editorials, published in the weekly Expresso and in the daily Público, between 2008 and 2015 (year of the 25th anniversary of Germany’s unification). The findings of this study will show the paradox of German power and its relevance for Europe’s future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Euro%20crises" title="Euro crises">Euro crises</a>, <a href="https://publications.waset.org/abstracts/search?q=German%20Europe" title=" German Europe"> German Europe</a>, <a href="https://publications.waset.org/abstracts/search?q=intercultural%20hermeneutics" title=" intercultural hermeneutics"> intercultural hermeneutics</a>, <a href="https://publications.waset.org/abstracts/search?q=Portuguese%20quality%20press" title=" Portuguese quality press"> Portuguese quality press</a> </p> <a href="https://publications.waset.org/abstracts/59667/a-german-europe-emerged-from-the-euro-crisis-a-study-through-the-portuguese-quality-press" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59667.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">238</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">463</span> Film Studies: Definition, Current Status, and Future Perspectives for Cuba</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carlos%20Guillermo%20Lloga%20Sanz">Carlos Guillermo Lloga Sanz</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20del%20Carmen%20Tamayo%20Asef"> Maria del Carmen Tamayo Asef</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As an object of study in Cuban universities, cinema is still in its infancy. This is relevant considering the significance of cinema within the local political culture and its impact on countries of the region. Discussions about the medium have been carried out mainly in the field of film criticism. The objective of this article is to reflect on the divergences between film studies and film criticism taking into account formal and theoretical features and to explore the transcendence of this debate for the intellectual ambiance of the Island. Methodologically, the study relies on theoretical elaborations based on literature review and non-structure interviews with Cuban film critics and scholars. The study finds that the gradation proposed by the Anglo-Saxon tradition, where film studies are considered a “higher stage," compared to criticism and cinephilia, does not apply to the Cuban space. Instead, to assess the state of reflection on cinema in Cuba, it is essential to consider it a starry node traversed by epistemic, institutional, and geopolitical matrices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title="film studies">film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20criticism" title=" film criticism"> film criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20cinema" title=" Cuban cinema"> Cuban cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20film%20studies" title=" Cuban film studies"> Cuban film studies</a> </p> <a href="https://publications.waset.org/abstracts/152140/film-studies-definition-current-status-and-future-perspectives-for-cuba" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152140.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">99</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">462</span> Hot Face of Cold War: 007 James Bond</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=G%C3%BCnevi%20Uslu%20Evren">Günevi Uslu Evren</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Propaganda is one of the most effective methods for changing individual and mass opinions. Propaganda tries to get the message across to people or masses to effect rather than to provide objective information. There are many types of propaganda. Especially, political propaganda is a very powerful method that is used by states during in both war and peace. The aim of this method is to create a reaction against them by showing within the framework of internal and external enemies. Propaganda can be practiced by many different methods. Especially during the Cold War Era, the US and USSR have tried to create an ideological effect by using the mass media intensively. Cinema, which is located at the beginning of these methods, is the most powerful weapon to influence the masses. In this study, the historical process of the Cold War is examined. Especially, these propagandas that had been used by United States and The Soviet Union were investigated. The purposes of propaganda and construction methods were presented. Cold War events and relations between the US and the USSR during the Cold War will be discussed. Outlooks of two countries to each other during the Cold War, propaganda techniques used defectively during Cold War and how to use the cinema as a propaganda tool will be examined. The film "From Russia with Love, James Bond 007" that was filmed in Cold War were examined to explain how cinema was used as a propaganda tool in this context. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=cold%20war" title=" cold war"> cold war</a>, <a href="https://publications.waset.org/abstracts/search?q=James%20Bond" title=" James Bond"> James Bond</a>, <a href="https://publications.waset.org/abstracts/search?q=propaganda" title=" propaganda"> propaganda</a> </p> <a href="https://publications.waset.org/abstracts/7256/hot-face-of-cold-war-007-james-bond" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7256.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">519</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">461</span> The Reception of the Notion of Soul as Vis Representativa in Kant’s Pre-critical Philosophy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Simone%20D%27Armi">Simone D'Armi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The notion of the representational soul is widely discussed within the German metaphysical landscape of the 18th century. The enunciation of the notion implies, within the 18th-century German rationalism, a number of generally accepted metaphysical notions. However, in the pre-critical writings of Immanuel Kant, it is possible to identify a critical stance towards this notion. The paper thematizes two central aspects: on the one hand, it discusses the notion of the vis of the representative soul, and on the other, it addresses the question of the fundamental forces ( Grundkraefte) of the soul. The aim of the present paper is to show how Kant, in the Nova Dilucidatio and in his Lectures on Metaphysics, probably delivered in the mid-1770s, despite the Wolffian terminology he employed in the field of psychology, criticizes the central aspects connected with the notion of the soul as a representative force. Beginning with a critical analysis of the relationship between Kantian ideas and those of some key exponents of German metaphysical rationalism, it emerges how the Kantian position stands as an alternative to its own historical context. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=German%20metaphysics" title="German metaphysics">German metaphysics</a>, <a href="https://publications.waset.org/abstracts/search?q=soul" title=" soul"> soul</a>, <a href="https://publications.waset.org/abstracts/search?q=power" title=" power"> power</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-critical%20philosophy" title=" pre-critical philosophy"> pre-critical philosophy</a> </p> <a href="https://publications.waset.org/abstracts/181576/the-reception-of-the-notion-of-soul-as-vis-representativa-in-kants-pre-critical-philosophy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/181576.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">61</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">460</span> Principles to Design Urbanism in Cinema; An Aesthetic Study on Identity and Representation of a City in a Movie</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dorsa%20Moayedi">Dorsa Moayedi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ‘The Cities’ and Cinema have a history going as far back as silent films; however, the standards of picturing a city in a film are somewhat vague. ‘Genius Loci’ of a city can be easily described with parameters that architects have detected; nevertheless, the genius loci of an ‘urban movie’ is untouched. Cities have been among the provocative matters that pushed filmmakers to ponder upon them and to picture them along with their urban identity thoroughly in their artworks, though the impacts of the urban life on the plot and characters is neglected, and so a city in a movie is usually restricted to ‘the place where the story happens’. Cities and urban life are among those that are in constant change and ongoing expansion; therefore, they are always fresh and ready to challenge people with their existence. Thus, the relationship between the city and cinema is metamorphic, though it could be defined and explored. The dominant research on the idea of urbanism has been conducted by outstanding scholars of architecture, like Christian Norberg-Schulz, and the studies on Cinema have been done by theorists of cinema, like Christian Metz, who have mastered defining their own realm; still, the idea to mingle the domains to reach a unified theory which could be applied to ‘urban movies’ is barely worked on. In this research, we have sought mutual grounds to discuss ‘urbanism in cinema,’ the grounds that cinema could benefit from and get to a more accurate audio-visual representation of a city, in accordance with the ideas of Christopher Alexander and the term he coined ‘The Timeless Way of Building.’ We concentrate on movies that are dependent on urban life, mainly those that possess the names of cities, like ‘Nashville (1975), Manhattan (1979), Fargo (1996), Midnight in Paris (2011) or Roma (2018), according to the ideas of urban design and narratives of cinema. Contrary to what has often been assumed, cinema and architecture could be defined in line with similar parameters, and architectural terms could be applied to the research done on movies. Our findings indicate that the theories of Christopher Alexander can best fit the paradigm to study an ‘Urban Movie’, definitions of a timeless building, elaborate on the characteristics of a design that could be applied to definitions of an urban movie, and set a prototype for further filmmaking regarding the urban life. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=city" title="city">city</a>, <a href="https://publications.waset.org/abstracts/search?q=urbanism" title=" urbanism"> urbanism</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20movies" title=" urban movies"> urban movies</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a> </p> <a href="https://publications.waset.org/abstracts/182855/principles-to-design-urbanism-in-cinema-an-aesthetic-study-on-identity-and-representation-of-a-city-in-a-movie" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182855.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">65</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">459</span> Crossing Narrative Waters in World Cinema: Alamar (2009) and Kaili Blues (2015)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dustin%20Dill">Dustin Dill</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The physical movement of crossing over water points to both developing narrative tropes and innovative cinematography in World Cinema today. Two prime examples, Alamar (2009) by Pedro González-Rubio and Kaili Blues (2015) by Bi Gan, demonstrate how contemporary storytelling in a film not only rests upon these water shots but also emerges from them. The range of symbolism that these episodes in the story provoke goes hand in hand with the diverse filming sequences found in the respective productions. While González-Rubio decides to cut the scene into long and longer shots, Gan uses a single take. The differing angles depict equally unique directors and film projects: Alamar runs parallel to many definitions of the essay film, and Kaili Blues resonates much more with mystery and art film. Nonetheless, the crossing of water scenes influence the narratives’ subjects despite the generic consequences, and it is within the essay, mystery, and art film genres which allows for a better understanding of World Cinema. Tiago de Luca explains World Cinema’s prerogative of giving form to a certain type of spectator does not always line up. Given the immense number of interpretations of crossing water —the escape from suffering to find nirvana, rebirth, and colonization— underline the difficulty of categorizing it. If before this type of cross-genre was a trait that defined World Cinema in its beginning, this study observes that González-Rubio and Gan question the all-encompassing genre with their experimental shots of a universal narrative trope, the crossing of water. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinematography" title="cinematography">cinematography</a>, <a href="https://publications.waset.org/abstracts/search?q=genre" title=" genre"> genre</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=world%20cinema" title=" world cinema"> world cinema</a> </p> <a href="https://publications.waset.org/abstracts/89655/crossing-narrative-waters-in-world-cinema-alamar-2009-and-kaili-blues-2015" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89655.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">292</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">458</span> Contemporary Malayalam Independent Cinema: Limited Location Storytelling and It’s Prominence in the Pandemic Era.</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Krishnanunni%20S.">Krishnanunni S.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The COVID-19 Pandemic has had an impact on every part of our lives, and the film industry is no exception. The restrictions the pandemic has brought made filmmakers confine their films to limited spaces. In India, Malayalam cinema was the first to incorporate the pandemic into its stories and started producing films within existing constraints. The purpose of this study was to study how the limited location storytelling concept influenced Malayalam independent and lockdown films. To answer this question, the three of the most popular films that we shot during the pandemic: The Great Indian Kitchen, Joji and Joyful Mystery, were dissected through text analysis and in-depth interviews were conducted with the makers of The Great Indian Kitchen and Joyful Mystery. The study revealed that the pandemic had had an influence on the way filmmakers visualize their stories and shoot them, especially while working within the restrictions of the pandemic. It was also observed that working with limited locations was the only way for filmmakers to make films during the times of pandemic. But rather than a hindrance to their work, filmmakers saw it as a new possibility to create in times of confinement. The findings of this study expanded the work of previous researchers about films shot in limited locations and the significant changes the pandemic has brought to the film industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=limited%20location%20storytelling" title="limited location storytelling">limited location storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=pandemic" title=" pandemic"> pandemic</a>, <a href="https://publications.waset.org/abstracts/search?q=pandemic%20restrictions" title=" pandemic restrictions"> pandemic restrictions</a>, <a href="https://publications.waset.org/abstracts/search?q=lockdown%20cinema" title=" lockdown cinema"> lockdown cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=pandemic%20films" title=" pandemic films"> pandemic films</a>, <a href="https://publications.waset.org/abstracts/search?q=Malayalam%20cinema" title=" Malayalam cinema"> Malayalam cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=OTT%20revolution" title=" OTT revolution"> OTT revolution</a>, <a href="https://publications.waset.org/abstracts/search?q=cinema" title=" cinema"> cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=films" title=" films"> films</a> </p> <a href="https://publications.waset.org/abstracts/162845/contemporary-malayalam-independent-cinema-limited-location-storytelling-and-its-prominence-in-the-pandemic-era" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162845.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">78</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">457</span> Cinema Reception in a Digital World: A Study of Cinema Audiences in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanjay%20Ranade">Sanjay Ranade</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional film theory assumes the cinema audience in a darkened room where cinema is projected on to a white screen, and the audience suspends their sense of reality. Shifts in audiences due to changes in cultural tastes or trends have been studied for decades. In the past two decades, however, the audience, especially the youth, has shifted to digital media for the consumption of cinema. As a result, not only are audiences watching cinema on different devices, they are also consuming cinema in places and ways never imagined before. Public transport often crowded to the brim with a lot of ambient content, and a variety of workplaces have become sites for cinema viewing. Cinema is watched piecemeal and at different times of the day. Audiences use devices such as mobile phones and tablets to watch cinema. The cinema viewing experience is getting redesigned by the user. The emerging design allows the spectator to not only consume images and narratives but also produce, reproduce, and manipulate existing images and narratives, thereby participating in the process and influencing it. Spectatorship studies stress on the importance of subjectivity when dealing with the structure of the film text and the cultural and psychological implications in the engagement between the spectator and the film text. Indian cinema has been booming and contributing to global movie production significantly. In 2005 film production was 1000 films a year and doubled to 2000 by 2016. Digital technology helped push this growth in 2012. Film studies in India have had a decided Euro-American bias. The studies have chiefly analysed the content for ideological leanings or myth or as reflections of society, societal changes, or articulation of identity or presented retrospectives of directors, actors, music directors, etc. The one factor relegated to the background has been the spectator. If they have been addressed, they are treated as a collective of class or gender. India has a performative tradition going back several centuries. How Indians receive cinema is an important aspect to study with respect to film studies. This exploratory and descriptive study looked at 162 young media students studying cinema at the undergraduate and postgraduate levels. The students, speaking as many as 20 languages amongst them, were drawn from across the country’s media schools. The study looked at nine film societies registered with the Federation of Film Societies of India. A structured questionnaire was made and distributed online through media teachers for the students. The film societies were approached through the regional office of the FFSI in Mumbai. Lastly, group discussions were held in Mumbai with students and teachers of media. A group consisted of between five and twelve student participants, along with one or two teachers. All the respondents looked at themselves as spectators and shared their experiences of spectators of cinema, providing a very rich insight into Indian conditions of viewing cinema and challenges for cinema ahead. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audience" title="audience">audience</a>, <a href="https://publications.waset.org/abstracts/search?q=digital" title=" digital"> digital</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=reception" title=" reception"> reception</a>, <a href="https://publications.waset.org/abstracts/search?q=reception%20spectatorship" title=" reception spectatorship"> reception spectatorship</a> </p> <a href="https://publications.waset.org/abstracts/116139/cinema-reception-in-a-digital-world-a-study-of-cinema-audiences-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/116139.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">130</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">456</span> Philippine Film Industry and Cultural Policy: A Critical Analysis and Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20Kho%20Lim">Michael Kho Lim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines the status of the film industry as an industry in the Philippines—where or how it is classified in the Philippine industrial classification system and how this positioning gives the film industry an identity (or not) and affects (film) policy development and impacts the larger national economy. It is important to look at how the national government recognises Philippine cinema officially, as this will have a direct and indirect impact on the industry in terms of its representation, conduct of business, international relations, and most especially its implications on policy development and implementation. Therefore, it is imperative that the ‘identity’ of Philippine cinema be clearly established and defined in the overall industrial landscape. Having a clear understanding of Philippine cinema’s industry status provides a better view of the bigger picture and helps us determine cinema’s position in the national agenda in terms of priority setting, future direction and how the state perceives and thereby values the film industry as an industry. This will then serve as a frame of reference that will anchor the succeeding discussion. Once the Philippine film industry status is identified, the paper will then clarify how cultural policy is defined, understood, and applied in the Philippines in relation to Philippine cinema by reviewing and analyzing existing policy documents and pending bills in the Philippine Congress and Senate. Lastly, the paper delves into the roles that (national) cultural institutions and industry organisations play as primary drivers or support mechanisms and how they become platforms (or not) for the upliftment of the independent film sector and towards the sustainability of the film industry. The paper concludes by arguing that the role of the government and how government officials perceive and treats culture is far more important than cultural policy itself, as these policies emanate from them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20and%20creative%20industries" title="cultural and creative industries">cultural and creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title=" cultural policy"> cultural policy</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20industry" title=" film industry"> film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=Philippine%20cinema" title=" Philippine cinema"> Philippine cinema</a> </p> <a href="https://publications.waset.org/abstracts/65386/philippine-film-industry-and-cultural-policy-a-critical-analysis-and-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65386.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">441</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">455</span> Italian Emigration to Germany as Represented in the Films Francesco Rosi and Toni Trupia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patrizia%20Palumbo">Patrizia Palumbo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There are only two Italian films dealing with the Italian emigration to Germany: I magliari directed by Francesco Rosi and Itaker. Vietato agli italiani directed by Toni Trupia. Consequently, the analysis of these two films is essential to any study of the representation of the Italians’ experience in Germany, their hosting country. Francesco Rosi’s I magliari and Toni Trupia’s Itaker. Vietato agli italiani, released respectively in 1959 and in 2012, are both set in the second half of the twentieth century and deal with door to door Italian cloth sellers in German cities, con artists marketing rags as fine fabric to exclusively German customers. However, the perspective of the directors and screenwriters are, if not antithetical, profoundly different. Indeed, from 1959 to 2012, years in which the two films were released, Italy went from being a country of emigration to a country of both immigration (albeit now temporary) and emigration. The paper entitled ‘Representation of the Italian Emigration to Germany in the Films of Francesco Rosi and Toni Trupia’ will analyze, therefore, the two substantially different historical contingencies in which the two movies were produced and cast light on how the same historical reality, that of Italian cloth sellers in German cities, is portrayed by Rosi and Trupia’s films. In particular, it will show how in both films the female character is the site on which power (or the lack of it) is contested. More precisely, it will highlight how the German blond woman in Rosi’s film and the dark haired Albanian woman in Trupia’s film are a reflection of the changes Italy underwent in the last fifty years. Finally, this paper will comment on why Italian emigration to Germany has been overlooked by Italian scholars. Although these scholars are all familiar with many of the films directed by Francesco Rosi, one of the auteurs of Italian cinema, no real critical study of I magliari exists. Rosi’s film, it can be argued, may have aroused the uneasiness engendered by all works dealing with facts evoking shameful and humiliating times. The same is true for Trupia’s film. Even though his Itaker. Vietato agli italiani is set in the sixties, it cannot prescind from the reality of contemporary Italian emigration to Germany and Italy’s economic and political crisis. Bringing attention to Rosi and Trupia’s film seems to be a valid way to rekindle the interest in Italian emigration to Germany, a phenomenon that has contributed to the economic, social and cultural history of both Italy and Germany. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film" title="film">film</a>, <a href="https://publications.waset.org/abstracts/search?q=Germany" title=" Germany"> Germany</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=Italian%20emigration" title=" Italian emigration"> Italian emigration</a> </p> <a href="https://publications.waset.org/abstracts/63071/italian-emigration-to-germany-as-represented-in-the-films-francesco-rosi-and-toni-trupia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63071.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">337</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">454</span> An Assessment of Female Representation in Philippine Cinema in Comparison to American Cinema (1975 to 2020)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amanda%20Julia%20Binay">Amanda Julia Binay</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Elise%20Suarez"> Patricia Elise Suarez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Female representation in media is an important subject in the discussion of gender equality, especially in impactful and influential media like film. As the Filipino film industry continues to grow and evolve, the need for analysis on Filipino female representation on screen is imperative. Additionally, there has been limited research made on female representation in the Philippine film scene. Thus, the paper aims to analyze the presence and evolution of female representation in Philippine cinema and compare the findings with that of American films to see how Filipino filmmakers hold their own against the standards of international movements that call for more and better female representation, especially in Hollywood. The participants selected were Filipino and American films released within the years 1975 to 2020 in five (5) year intervals. Twenty (20) critically acclaimed and highest-grossing Filipino films and twenty (20) critically acclaimed and highest-grossing Hollywood films were then subject to the Bechdel and Peirce tests to obtain statistical measures of their female representation. The findings of the study reveal that the presence of female representation in Philippine film history has been consistent and has continued to grow and evolve throughout the years, with strong female leads with vibrant characteristics and diverse stories. However, analysis of female representation regarding American films has shown an extreme lack thereof with more misogynistic, sexist, and limiting ideals. Thus, the study concludes that the state of female representation in Philippine cinema and film industry holds its own when compared to American cinema and film industry and even outperforms it in many aspects of female representation, such as consistent inclusion and depiction of multi-dimensional female leads and female relationships. Hence, the study implies that women’s consistent presence in Philippine cinema mirrors Filipino women’s prominent role in Philippine society and that American cinema must continue to make efforts to change their portrayals of female characters, leads, and relationships to make them more grounded in reality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20representation" title="female representation">female representation</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20studies" title=" gender studies"> gender studies</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=philippine%20cinema" title=" philippine cinema"> philippine cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=American%20cinema" title=" American cinema"> American cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=bechdel%20test" title=" bechdel test"> bechdel test</a>, <a href="https://publications.waset.org/abstracts/search?q=peirce%20test" title=" peirce test"> peirce test</a>, <a href="https://publications.waset.org/abstracts/search?q=comparative%20analysis" title=" comparative analysis"> comparative analysis</a> </p> <a href="https://publications.waset.org/abstracts/144689/an-assessment-of-female-representation-in-philippine-cinema-in-comparison-to-american-cinema-1975-to-2020" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144689.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">381</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> 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