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revolutionary cinema</title> <meta name="description" content="Search results for: revolutionary cinema"> <meta name="keywords" content="revolutionary 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 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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="revolutionary 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> 266</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: revolutionary cinema</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">266</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">265</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">264</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">263</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">262</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">261</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">260</span> Revolutionary Violence and Echoes of the «Thou Shalt Not Kill» Debate: A Tragic Reading of the Class Conflict in Colombia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jaime%20Otavo">Jaime Otavo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Oscar del Barco, a former member of Los Montoneros, an Argentine guerrilla group of the 1970s, published a letter in 2004 that sparked a heated debate in his country about revolutionary violence. Del Barco, on the subject of «No matarás» (Thou shalt not kill) –as this debate was known– wrote to Sergio Schmucler, his addressee, the following: "There is no 'ideal' that justifies the death of a man. The founding principle of any community is 'Thou shalt not kill'. Thou shalt not kill the man because every man is sacred, and every man is all men".In this paper, the «No matarás» debate will be used to problematize two interconnected ideas that, in Colombia, underpinned the use of revolutionary violence by the guerrilla movements that emerged in the 1970s. On the one hand, an anthropological optimism; on the other, a theological scheme of converting violence into justice. Based on this, two arguments are put forward: 1) that revolutionary violence arose from an ethical-political certainty, namely: the confidence in being on the right side of history (because the violent ones were others), but 2) that its persistence over time made visible a tragic element, that is, that the bipolarity between victim and executioner, good and evil, or friend and foe that is inscribed in the class struggle is a false dilemma for in the context of revolutionary violence –as in the context of Greek tragedy–, no one ever has to make a decision, nor can he do so. For this reason, it is maintained that the fundamental aspect about guerrilla violence in Colombia is that it imposed itself as a violence of negativity which not only exceeded the capacity of the extreme left to control its revolutionary praxis but also exploited the link with the political subjectivation to which it aspired, the proletariat as the gravedigger of the bourgeoisie. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=marxism" title="marxism">marxism</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20movements" title=" social movements"> social movements</a>, <a href="https://publications.waset.org/abstracts/search?q=armed%20struggle" title=" armed struggle"> armed struggle</a>, <a href="https://publications.waset.org/abstracts/search?q=debate%20thou%20shalt%20not%20kill" title=" debate thou shalt not kill"> debate thou shalt not kill</a> </p> <a href="https://publications.waset.org/abstracts/152522/revolutionary-violence-and-echoes-of-the-thou-shalt-not-kill-debate-a-tragic-reading-of-the-class-conflict-in-colombia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152522.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">81</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">259</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">258</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">257</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">256</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">255</span> Post-Islamic Utopias, Contentious Memory and the Revolutionary Mobilization in Iran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saeed%20Saffar-Heidari">Saeed Saffar-Heidari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article aims to study the recent Iranian national uprising of “Women, Life, Freedom” as a site of memory which renders the political possibility of imagining the post-Islamic futures in Iran. “Women, Life, Freedom” movement in Iran has been arguably the most pervasive social movement since the Islamic Revolution (1979) as it has posed serious issues and conflicts for the present Islamic state in Iran. The core argument of this article, however, is oriented toward the critical role of collective memory as a means of political transition and revolutionary mobilization. “Women, Life, Freedom” movement, among other things, has revitalized the popular binary opposition of pre-1979 and post-1979 Iran through which the Ancien Régime or the pre-1979 era is likely to be interpreted, read, and remembered in terms of present post-1979 cultural and political demands. As remembering involves everyday participation in shaping and reshaping the past through new codes, criteria, and values, it is argued that the presentist refashioning and remembering of the pre-1979 monarchical era has been one of the major facilitatory forces for the on-going revolutionary mobilization in Iran. The construction of the pre-1979 memory and the return of the dynastic specter has played a significant role in revolutionary mobilization as it has provided the protesters with the possible perspectives of post-Islamic regime in Iran. Additionally, the question of compulsory “Hijab” (veiling) as the prime mover of "Women, Life, Freedom” movement in Iran has strongly contributed to the everyday comparative discourse of pre/post 1979 memory. According to this presentist remembering of pre-1979, the Pahlavi dynasty would be conceived as a symbol of modernization, westernization, secularization, and non-compulsory Hijab. While the memory of the pre-revolutionary Iran is genuinely an imaginative as well as a constructed entity that finally culminates in the public condemnation of the very Islamic revolution (1979), it serves the enrichment of the Iranian political imagination as it paves the ways for the revolutionary mobilization and then the overthrowing of the Islamic regime in Iran. This article makes a case for the ways that the public narrative and discourse around the Islamic regime (especially the Islamic Hijab) led to the refashioning of the memory of pre-1979 era and inspired he revolutionary mobilization in Iran. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=post-islamic" title="post-islamic">post-islamic</a>, <a href="https://publications.waset.org/abstracts/search?q=utopias" title=" utopias"> utopias</a>, <a href="https://publications.waset.org/abstracts/search?q=memory" title=" memory"> memory</a>, <a href="https://publications.waset.org/abstracts/search?q=revolutionary" title=" revolutionary"> revolutionary</a>, <a href="https://publications.waset.org/abstracts/search?q=mobilization" title=" mobilization"> mobilization</a>, <a href="https://publications.waset.org/abstracts/search?q=Iran" title=" Iran"> Iran</a> </p> <a href="https://publications.waset.org/abstracts/165409/post-islamic-utopias-contentious-memory-and-the-revolutionary-mobilization-in-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165409.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">254</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">253</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">252</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">251</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">250</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">249</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">248</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">247</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> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">246</span> Women Presentation and Roles in Arab-Israeli Female Filmmakers Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mariam%20Farah">Mariam Farah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the beginning of the 21 century, female Arab directors entered the industry of cinema in Israel. Before their entrance, the Palestinian cinema, directed in Israel and in other places in the world, was defined as political-masculine cinema. The recent research wonders if the entrance of female directors to the Arab-Israeli cinema brings a new, feminist and un- common discourse, just like female directors movies in other cultures. The research also examines which gendered, social and political identities or statements do the Arab female directors reveal in their works, and what do they say about their real life? In order to get answers to the previous questions, the paper conducts a narrative comparative research between movies that was directed by female and male Arab-Israeli directors. The narrative research examines specific categories in each movie such as: main topic, women role, women appearance and women characteristics. The findings show that a new discourse replaces the political-masculine traditional discourse in the Palestinian cinema. Female Arab directors in Israel leave aside the main theme in Palestinian movies: the Israeli-Palestinian conflict, and replace it with new themes related to women lives and reality. Women in female directors movies are presented within non-traditional, empowering, and feminist identities: independent, strong, and active women. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminism" title="feminism">feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20presentation" title=" women presentation"> women presentation</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20roles" title=" women roles"> women roles</a> </p> <a href="https://publications.waset.org/abstracts/51430/women-presentation-and-roles-in-arab-israeli-female-filmmakers-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/51430.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">500</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">245</span> Vfx-Creativity or Cost Cutting Study of the Use of Vfx in Hindi Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nidhi%20Patel">Nidhi Patel</a>, <a href="https://publications.waset.org/abstracts/search?q=Amol%20Shinde"> Amol Shinde</a>, <a href="https://publications.waset.org/abstracts/search?q=Amrin%20Moger"> Amrin Moger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Mainstream Hindi cinema also known as Bollywood, is the largest film producing industry in India. The Indian film industry underwent a sea change since last few years. The industry adapted to the latest technologies and creative manpower to improve visual and cinematic effects. The changes helped the industry to improve its creative looks and ease on production budget. The research focuses on this very change, i.e. the use of VFX. There has been growing use of VFX in feature films. The primary focus is on how VFX can make a difference in the experience of watching a movie. The research examines the use of CGI/VFX in the narrative, which delivers a visually fulfilling film. It also focuses on the use of CGI/ VFX as a cost cutting tool. The research was exploratory in nature. It studies the industry’s evolvement, increment in its use by filmmakers and their intention to use it in their films. The researcher used qualitative method for data collection as an in-depth interview of 10 artists from VFX studios in Mumbai was conducted. The finding reveals the way VFX is used in Hindi cinema by the directors. The researcher learnt that VFX is majorly used as a tool to enhance creativity and provide the audience with creative viewing experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bollywood" title="Bollywood">Bollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20cinema" title=" Hindi cinema"> Hindi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=VFX" title=" VFX"> VFX</a>, <a href="https://publications.waset.org/abstracts/search?q=CGI" title=" CGI"> CGI</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=cost%20cutting" title=" cost cutting"> cost cutting</a> </p> <a href="https://publications.waset.org/abstracts/40206/vfx-creativity-or-cost-cutting-study-of-the-use-of-vfx-in-hindi-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40206.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">359</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">244</span> On-Screen Disability Delineation and Social Representation: An Evaluation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chetna%20Jaswal">Chetna Jaswal</a>, <a href="https://publications.waset.org/abstracts/search?q=Nishi%20Srivastava"> Nishi Srivastava</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahammedul%20Kabeer%20AP"> Ahammedul Kabeer AP</a>, <a href="https://publications.waset.org/abstracts/search?q=Puja%20Prasad"> Puja Prasad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We are a culture of mass media consumers and cinema as its integral part has high visibility and potential influence on public attitude towards disability which maintains no sociocultural boundaries but experiences substantial social marginalization. Given the lack of awareness and direct experience with disability, on-screen or film representations can give powerful and memorable definitions for the public that can contribute to framing the perception and attitude change. Social representation refers to common ways of thinking, conceiving about and evaluating social reality. It is a product of collective cognition, common sense and thought system. This study aims at analyzing the representations and narratives of disability in Indian cinema and Hollywood with the help of a conceptual understanding of social representation and its theoretical framework. <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=social%20representation" title=" social representation"> social representation</a>, <a href="https://publications.waset.org/abstracts/search?q=mainstream%20cinema" title=" mainstream cinema"> mainstream cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=diversity" title=" diversity"> diversity</a> </p> <a href="https://publications.waset.org/abstracts/147700/on-screen-disability-delineation-and-social-representation-an-evaluation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147700.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">170</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">243</span> Process of the Emergence and Evolution of Socio-Cultural Ideas about the "Asian States" In the Context of the Development of US Cinema in 1941-1945</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Selifontova%20Darya%20Yurievna">Selifontova Darya Yurievna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study of the process of the emergence and evolution of socio-cultural ideas about the "Asian states" in the context of the development of US cinema in 1941-1945 will contribute both to the approbation of a new approach to the classical subject and will allow using the methodological tools of history, political science, philology, sociology for understanding modern military-political, historical, ideological, socio-cultural processes on a concrete example. This is especially important for understanding the process of constructing the image of the Japanese Empire in the USA. Assessments and images of China and Japan in World War II, created in American cinema, had an immediate impact on the media, public sentiment, and opinions. During the war, the US cinema created new myths and actively exploited old ones, combining them with traditional Hollywood cliches - all this served as a basis for creating the image of China and the Japanese Empire on the screen, which were necessary to solve many foreign policy and domestic political tasks related to the construction of two completely different, but at the same time, similar images of Asia (China and the Japanese Empire). In modern studies devoted to the history of wars, the study of the specifics of the information confrontation of the parties is in demand. A special role in this confrontation is played by propaganda through cinema, which uses images, historical symbols, and stable metaphors, the appeal to which can form a certain public reaction. Soviet documentaries of the war years are proof of this. The relevance of the topic is due to the fact that cinema as a means of propaganda was very popular and in demand during the Second World War. This period was the time of creation of real masterpieces in the field of propaganda films, in the documentary space of the cinema of 1941 – 1945. The traditions of depicting the Second World War were laid down. The study of the peculiarities of visualization and mythologization of the Second World War in Soviet cinema is the most important stage for studying the development of the specifics of propaganda methods since the methods and techniques of depicting the war formed in 1941-1945 are also significant at the present stage of the study of society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=asian%20countries" title="asian countries">asian countries</a>, <a href="https://publications.waset.org/abstracts/search?q=politics" title=" politics"> politics</a>, <a href="https://publications.waset.org/abstracts/search?q=sociology" title=" sociology"> sociology</a>, <a href="https://publications.waset.org/abstracts/search?q=domestic%20politics" title=" domestic politics"> domestic politics</a>, <a href="https://publications.waset.org/abstracts/search?q=USA" title=" USA"> USA</a>, <a href="https://publications.waset.org/abstracts/search?q=cinema" title=" cinema"> cinema</a> </p> <a href="https://publications.waset.org/abstracts/145985/process-of-the-emergence-and-evolution-of-socio-cultural-ideas-about-the-asian-states-in-the-context-of-the-development-of-us-cinema-in-1941-1945" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145985.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">127</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">242</span> The Politics of Cinema: Representation of Rising Nationalism in Indian Cinema in the Election Year of 2019</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paawani%20Tewari">Paawani Tewari</a>, <a href="https://publications.waset.org/abstracts/search?q=Oishik%20Dasgupta"> Oishik Dasgupta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cinema and politics have often intertwined in India. Movies have become a mainstream method of communication with audiences and voters subliminally and directly. Indian film industry on average produces over a thousand films in a year, and during the election year of 2019, India witnessed the release of several highly political movies. Movies such as Uri: The Surgical Strike, Accidental Prime Minister, and PM Modi, et cetera, which are the sample of this study have tried to depict an ideal character of political stalwart leaders with the plausibility to inspire and aiming to change ideological orientations of viewers and the potent voters. This study tries to understand the major links between nationalism, its representation, and its manifestation in Indian cinema and how it is instrumental in shaping the character and orientations of its citizens towards nation, nationalism, and nationhood. Our work aims to highlight how nationalistic assumptions that are swaddled in the Hindi movies released during January 2019 – May 2019 affect the political mood of the nation and, in totality, the democratic system. The authors also try to throw light on how films being a powerful tool, are now being used to shape ideas, brainwashing and swaying opinions for political mileage. Hence it becomes essential for us to explore the dynamics between the quintessential definitions of what nationalism is for a common man in India versus of what has been represented in cinema, especially during the time of the elections. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=political%20governance%20and%20political%20analysis" title="political governance and political analysis">political governance and political analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20and%20public%20administration" title=" political and public administration"> political and public administration</a>, <a href="https://publications.waset.org/abstracts/search?q=election" title=" election"> election</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20choice" title=" public choice"> public choice</a> </p> <a href="https://publications.waset.org/abstracts/145044/the-politics-of-cinema-representation-of-rising-nationalism-in-indian-cinema-in-the-election-year-of-2019" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145044.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">164</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">241</span> Examining the Role of Iranian International Cinema in the Formation of Cultural Schemas About Iranian Families</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elahe%20Zavareian">Elahe Zavareian</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cinema is a powerful medium that can depict and critique sociological and cultural issues, contributing to the expansion of important societal issues and raising awareness. Family crises and challenges are significant concerns faced by societies worldwide. The family serves as the central core for societal formation, and the challenges experienced within this small social group have implications not only for individuals within a country but also for the wider culture. The concept of the family represents the entire society in relation to other countries, shaping ideas and prejudices regarding interpersonal culture and relationships. The representation of society's problems through cinema influences the formation of cultural schemas within the country producing the films and among the societies that view them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=interpersonal%20culture" title="interpersonal culture">interpersonal culture</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=society" title=" society"> society</a>, <a href="https://publications.waset.org/abstracts/search?q=family" title=" family"> family</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20schemas" title=" cultural schemas"> cultural schemas</a> </p> <a href="https://publications.waset.org/abstracts/167490/examining-the-role-of-iranian-international-cinema-in-the-formation-of-cultural-schemas-about-iranian-families" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167490.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">72</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">240</span> Locating the Davao Film Culture: An Exploration of the Relationship of Geography and the Cinema of a Regional City Center</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sarah%20Isabelle%20Torres">Sarah Isabelle Torres</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Using Lefebvre’s (1991) Spatial Triad, this study explores the relationship of geography and cinema and asks the question: how does geography shape the film culture of a regional city center located at the periphery of a country’s capital? This research aims to locate the contemporary film scene of the city in question, Davao City, Mindanao through contextualizing the politics and culture of its tri-people. This study shows that primarily because of local filmmakers' affection and sense of place, progressive films focusing on the tri-people and their struggles mainly due to issues on land have been born. To further understand the city’s film culture, this study maps the following areas: 1) filmmakers and cineastes, 2) films, 3) film festivals, 4) financial stakeholders, 5) institutions, and 6) screening places. From these, the researcher learned that although the local film community has established itself for decades, problems on audience, funding, and institutional support continue to persist. Aside from mapping, this study also explores Davao’s political, economic, and cultural position within the regional and the national arenas. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema%20studies" title="cinema studies">cinema studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Davao%20City" title=" Davao City"> Davao City</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20culture" title=" film culture"> film culture</a>, <a href="https://publications.waset.org/abstracts/search?q=geography" title=" geography"> geography</a>, <a href="https://publications.waset.org/abstracts/search?q=Philippines" title=" Philippines"> Philippines</a>, <a href="https://publications.waset.org/abstracts/search?q=place" title=" place"> place</a>, <a href="https://publications.waset.org/abstracts/search?q=regional%20cinema" title=" regional cinema"> regional cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space "> space </a> </p> <a href="https://publications.waset.org/abstracts/108124/locating-the-davao-film-culture-an-exploration-of-the-relationship-of-geography-and-the-cinema-of-a-regional-city-center" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108124.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">156</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">239</span> Evaluating the Role of Cinema in the Formation of Cultural Schemas of Iranian Families by Studying the Opinions of Critics at the Venice Film Festival</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elahe%20Zavareian">Elahe Zavareian</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cinema is a powerful medium that can depict and critique sociological and cultural issues, contributing to the expansion of important societal issues and raising awareness. Family crises and challenges are significant concerns faced by societies worldwide. The family serves as the central core for societal formation, and the challenges experienced within this small social group have implications not only for individuals within a country but also for the wider culture. The concept of the family represents the entire society in relation to other countries, shaping ideas and prejudices regarding interpersonal culture and relationships. The representation of society's problems through cinema influences the formation of cultural schemas within the country producing the films and among the societies that view them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=interpersonal%20culture" title="interpersonal culture">interpersonal culture</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=society" title=" society"> society</a>, <a href="https://publications.waset.org/abstracts/search?q=family" title=" family"> family</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20schemas" title=" cultural schemas"> cultural schemas</a> </p> <a href="https://publications.waset.org/abstracts/167370/evaluating-the-role-of-cinema-in-the-formation-of-cultural-schemas-of-iranian-families-by-studying-the-opinions-of-critics-at-the-venice-film-festival" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167370.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">68</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">238</span> Revolutionary Solutions for Modeling and Visualization of Complex Software Systems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jay%20Xiong">Jay Xiong</a>, <a href="https://publications.waset.org/abstracts/search?q=Li%20Lin"> Li Lin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Existing software modeling and visualization approaches using UML are outdated, which are outcomes of reductionism and the superposition principle that the whole of a system is the sum of its parts, so that with them all tasks of software modeling and visualization are performed linearly, partially, and locally. This paper introduces revolutionary solutions for modeling and visualization of complex software systems, which make complex software systems much easy to understand, test, and maintain. The solutions are based on complexity science, offering holistic, automatic, dynamic, virtual, and executable approaches about thousand times more efficient than the traditional ones. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=complex%20systems" title="complex systems">complex systems</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20maintenance" title=" software maintenance"> software maintenance</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20modeling" title=" software modeling"> software modeling</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20visualization" title=" software visualization"> software visualization</a> </p> <a href="https://publications.waset.org/abstracts/41451/revolutionary-solutions-for-modeling-and-visualization-of-complex-software-systems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41451.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">401</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">237</span> Projection of Health Issues in Contemporary Indian Cinema: A Study on Selected Bollywood Movies </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sananda%20Mukherjee">Sananda Mukherjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Nandini%20Lakshmikantha"> Nandini Lakshmikantha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Films are considered as the most influential form of mass media. To attract audience films are made on various themes and issues which are assumed to have an impact on the behavioural pattern of the society. Among the various issues that have been bothering Indian society, health is primary. Thus it is important and interesting to study how health is being projected in Bollywood which is largely considered by the world as Indian cinema. This study tries to focus its attention on some select popular movies made in the recent decade and will try to analyse its content and significance of the same with the contemporary Indian society. It is evident that some of the movies made projecting health issues have earned good box office revenues, but have they been successful in making the public understand the significance of health issues they have been trying to project, is an interesting area to understand. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=box%20office" title="box office">box office</a>, <a href="https://publications.waset.org/abstracts/search?q=health%20issues" title=" health issues"> health issues</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cinema" title=" Indian cinema"> Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20awareness" title=" social awareness "> social awareness </a> </p> <a href="https://publications.waset.org/abstracts/85748/projection-of-health-issues-in-contemporary-indian-cinema-a-study-on-selected-bollywood-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85748.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">216</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> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=revolutionary%20cinema&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=revolutionary%20cinema&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=revolutionary%20cinema&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=revolutionary%20cinema&page=5">5</a></li> <li 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