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cinema</title> <meta name="description" content="Search results for: Indian cinema"> <meta name="keywords" content="Indian cinema"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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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="Indian 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> 1418</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Indian cinema</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1418</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">1417</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> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1416</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">1415</span> Musicals in Film Adaptation in Bollywood with Special Reference to Basu Bhattacharya's Film Teesari Kasam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gokul%20G.%20Kshirsagar">Gokul G. Kshirsagar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Native folk theatre and folk songs have a significant influence on the origin and development of Indian cinema. Therefore, the presence of songs and music has been an integral part and special characteristics of Indian cinema which is popularly known as Bollywood. An Indian cinema without songs, either in Hindi or other regional languages, is simply unimaginable. The present paper, in the first part, attempts to explain the use and need of musical songs and also the psychology of Indian audience in this respect with reference to some of the films which give primary importance to songs. In the second part, the paper tries to situate the present study in the context by referring to the Hindi language drama film Teesari Kasam directed by Basu Bhattacharys. The film is based on the Hindi novelist Phanishwarnath Renu’s short story Teesari Kasam (Mare Gaye Gulfam) in this adapted film, the director has made use of eight songs, but these songs are the extensive versions of the songs as used in the original story. Thus, the main aim of the paper is to underscore the fact that through artistic use of the musical, the director has succeeded in transforming the central feelings conveyed in the original story. Eventually, through the present study of the film adaptation, the relevance of songs in films will be illustrated and understood. <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=folk%20theatre" title=" folk theatre"> folk theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20songs" title=" folk songs"> folk songs</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20adaptation" title=" film adaptation"> film adaptation</a> </p> <a href="https://publications.waset.org/abstracts/82182/musicals-in-film-adaptation-in-bollywood-with-special-reference-to-basu-bhattacharyas-film-teesari-kasam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82182.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">221</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">1414</span> Emerging Film Makers in Tamil Cinema Liberated by Digital Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Valarmathi%20Subramaniam">Valarmathi Subramaniam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ever since the first Indian feature film was produced and released by Shri Dada Saheb Phalke in the year 1931, the Indian Film Industry has grown leaps and bounds. The Indian Film Industry stands as the largest film industry in the world, and it produces more than a thousand films every year with investments and revenues worth several billion rupees. As per the official report published by UNESCO in the year 2017 on their website, it states that in the year 2015, India has produced one thousand nine hundred and seven feature films using digital technology. Not only is the cinema adapted to digital technologies, but the digital technologies also opened up avenues for talents to enter the cinema industry. This paper explores such talents who have emerged in the film industry without any background, neither academic nor from their family background, but holding digital media as their weapon. The research involves two variants of filmmaking technology – Celluloid and Digital. The study used a selective sampling of films that were released from the year 2020-to 2022. The sample has been organized, resulting in popular and fresh talents in the editing phase of filmmaking. There were 48 editors, of which 12 editors were not popular and 6 of them were fresh into the film without any background. Interview methods were used to collect data on what helped them to get into the industry straight. The study found that the digital medium and the digital technology enabled them to get into the film industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20media" title="digital media">digital media</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20in%20cinema" title=" digital in cinema"> digital in cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20era%20talents" title=" digital era talents"> digital era talents</a>, <a href="https://publications.waset.org/abstracts/search?q=emerging%20new%20talents" title=" emerging new talents"> emerging new talents</a> </p> <a href="https://publications.waset.org/abstracts/149750/emerging-film-makers-in-tamil-cinema-liberated-by-digital-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149750.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">117</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1413</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">1412</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">1411</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">1410</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">1409</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">1408</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">1407</span> Film Review of 'Heroic Saviours and Survivors': The Representation of Sex Trafficking in Popular Films in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nisha%20James">Nisha James</a>, <a href="https://publications.waset.org/abstracts/search?q=Shubha%20Ranganathan"> Shubha Ranganathan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the most poignant forms of organized crime against women, which has rarely made it to the world of Indian cinema, is that of sex trafficking, i.e. the forcible involvement of women in the sex trade through fraud or coercion (Hughes, 2005). In the space of Indian cinema, much of the spotlight has been on the sensational drug trafficking and gang mafia of Bombay. During our research on sex trafficking, the rehabilitated women interviewed often expressed strong criticism about mass media’s naive portrayal of prostitutes as money-minting, happy and sexually driven women. They argued that this unrealistic portrayal ignored the fact that this was not a reality for the majority of trafficked women. Given the gravity of sex trafficking as a human rights issue, it is, therefore, refreshing to see three recent films on sex trafficking in Indian Languages – Naa Bangaaru Talli (2014, Telugu), Mardaani (2014, Hindi) and Lakshmi (2014, Hindi). This paper reviews these three films to explore the portrayal of the everyday reality of trafficking for women. Film analysis was used to understand the representation of psychological issues in the media. The strength of these movies starts with their inspirations which are of true stories and that they are all aimed at bringing awareness about the issue of sex trafficking, which is a rising social evil in Indian society though none of the three films move to portray the next phase of rehabilitation and reintegration of victims, which is a very complex and important process in the life of a survivor. According to findings, survivors of sex trafficking find the rehabilitation and reintegration into society to be a slow and tough part of their life as they continuously face stigma and social exclusion and have to strive to live against all odds of non-acceptance starting from their family. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20review" title="film review">film review</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20films" title=" Indian films"> Indian films</a>, <a href="https://publications.waset.org/abstracts/search?q=sex%20trafficking" title=" sex trafficking"> sex trafficking</a>, <a href="https://publications.waset.org/abstracts/search?q=survivors" title=" survivors"> survivors</a> </p> <a href="https://publications.waset.org/abstracts/22383/film-review-of-heroic-saviours-and-survivors-the-representation-of-sex-trafficking-in-popular-films-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22383.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">440</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">1406</span> Cinematic Liberty vs. Offending Social, Religious Beliefs: With Special Reference to the Controversial Contents in Cinema and Print Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Govind%20Ji%20Pandey">Govind Ji Pandey</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The divergent opinions in the society are important for its development but with reasonable restrictions. The world recently witnessed one of the most violent protests by a group against the editor and publisher of the magazine ‘Charlie Hebdo’ for publishing cartoon of their religious leader. The supporter of freedom of speech and expression around the world were in shock and termed it the strongest attack against the free speech. People all around the world condemned the killing of the journalists but many soft voices from several corners were also coming for reasonable restrictions on the freedom of speech and expression. Of late, Indian society has witnessed many protests and supports of films with controversial content. It is the beauty of the Indian democracy which gives an opportunity to all for discussion and debate on any issue that challenges established social norms. However, many organizations as well as individuals misuse it for their personal benefits. There have been many film directors who faced protest from several quarters for their controversial themes. This research aims at analyzing the controversial contents published in print media and shown in films. To understand the nature and frequency of such media reports, content analysis technique is used. The research also highlights the perception of the public regarding the controversies. For getting the popular opinion on the coverage of controversial content in cinema and print media, five hundred people from Lucknow, UP, India were randomly selected. The findings of this research are important to understand the response of media and society towards the controversial content presented in cinema and print media. The research highlights that how a handful of people curb free speech in a democratic country like India. <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=censor%20board" title=" censor board"> censor board</a>, <a href="https://publications.waset.org/abstracts/search?q=free%20speech" title=" free speech"> free speech</a>, <a href="https://publications.waset.org/abstracts/search?q=liberty" title=" liberty"> liberty</a>, <a href="https://publications.waset.org/abstracts/search?q=social-religious%20beliefs" title=" social-religious beliefs"> social-religious beliefs</a> </p> <a href="https://publications.waset.org/abstracts/36371/cinematic-liberty-vs-offending-social-religious-beliefs-with-special-reference-to-the-controversial-contents-in-cinema-and-print-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36371.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">264</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">1405</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">1404</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">1403</span> Caste Discourses in Popular Cinema in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Devina%20Sethia">Devina Sethia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper will examine the discourse of sense of belonging in popular Hindi language cinema in India to understand how Dalit identities and experiences are negotiated. It will situate such discourse against the emergence of new rhetorical forms of nationalism that seem to contest colonial constructs of nation and identity while clearly envisioning anti-colonial futures through the invocation of a glorious pre-colonial past. While nations have always been 'imagined communities' with the Hobsbawmian invented traditions that leverage national consciousness to establish trust and legitimacy of governance, the concept of ethnic nationalism has been at odds with the idea of India itself as the concept of nationalism in India was born out of anti colonial ideology and not ethnicity. However, in recent times, anti colonial nationalism is transforming into Hindu nationalism and hardening the boundaries around what is Indian-ness and what it means to be Indian. In the past two decades films such as Masaan (2015), Manjhi - The Mountain Man (2015), Sairat (2016), Article 15 (2019) and Vedaa (2024) have gained immense popularity amongst different audience groups across the country. The success of this cinematic genre is interesting when juxtaposed against the reinforcing of a more rigid and exclusionary understanding of Indian-ness. Hence, further exploration of this is essential to gain insights into the anti colonial future of India. In conclusion, studying the discourse of Dalit sense of belonging in film serves as more than mere representation, but rather as a crucial intervention in the comprehension and envisioning of anticolonial possibilities amidst the rise of Hindu nationalism. <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=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=sense%20of%20belonging" title=" sense of belonging"> sense of belonging</a>, <a href="https://publications.waset.org/abstracts/search?q=discourse" title=" discourse"> discourse</a> </p> <a href="https://publications.waset.org/abstracts/190206/caste-discourses-in-popular-cinema-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/190206.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">26</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">1402</span> 21st-Century Middlebrow Film: A Critical Examination of the Spectator Experience in Malayalam Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anupama%20A.%20P.">Anupama A. P.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Malayalam film industry, known as Mollywood, has a rich tradition of storytelling and cultural significance within Indian cinema. Middlebrow films have emerged as a distinct influential category, particularly in the 1980s, with directors like K.G. George, who engaged with female subjectivity and drew inspiration from the ‘women’s cinema’ of the 1950s and 1960s. In recent decades, particularly post-2010, the industry has transformed significantly with a new generation of filmmakers diverging from melodrama and new wave of the past, incorporating advanced technology and modern content. This study examines the evolution and impact of Malayalam middlebrow cinema in the 21st century, focusing on post-2000 films and their influence on contemporary spectator experiences. These films appeal to a wide range of audiences without compromising on their artistic integrity, tackling social issues and personal dramas with thematic and narrative complexity. Historically, middlebrow films in Malayalam cinema have portrayed realism and addressed the socio-political climate of Kerala, blending realism with reflexivity and moving away from traditional sentimentality. This shift is evident in the new generation of Malayalam films, which present a global representation of characters and a modern treatment of individuals. To provide a comprehensive understanding of this evolution, the study analyzes a diverse selection of films such as Kerala Varma Pazhassi Raja (2009), Drishyam (2013), Maheshinte Prathikaaram (2016), Take Off (2017), and Thondimuthalum Driksakshiyum (2017) and Virus (2019) illustrating the broad thematic range and innovative narrative techniques characteristic of this genre. These films exemplify how middlebrow cinema continues to evolve, adapting to changing societal contexts and audience expectations. This research employs a theoretical methodology, drawing on cultural studies and audience reception theory, utilizing frameworks such as Bordwell’s narrative theory, Deleuze’s concept of deterritorialization, and Hall’s encoding/decoding model to analyze the changes in Malayalam middlebrow cinema and interpret the storytelling methods, spectator experience, and audience reception of these films. The findings indicate that Malayalam middlebrow cinema post-2010 offers a spectator experience that is both intellectually stimulating and broadly appealing. This study highlights the critical role of middlebrow cinema in reflecting and shaping societal values, making it a significant cultural artefact within the broader context of Indian and global cinema. By bridging entertainment with thought-provoking narratives, these films engage audiences and contribute to wider cultural discourse, making them pivotal in contemporary cinematic landscapes. To conclude, this study highlights the importance of Malayalam middle-brow cinema in influencing contemporary cinematic tastes. The nuanced and approachable narratives of post-2010 films are posited to assume an increasingly pivotal role in the future of Malayalam cinema. By providing a deeper understanding of Malayalam middlebrow cinema and its societal implications, this study enriches theoretical discourse, promotes regional cinema, and offers valuable insights into contemporary spectator experiences and the future trajectory of Malayalam cinema. <p class="card-text"><strong>Keywords:</strong> <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=middlebrow%20cinema" title=" middlebrow cinema"> middlebrow cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=spectator%20experience" title=" spectator experience"> spectator experience</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20reception" title=" audience reception"> audience reception</a>, <a href="https://publications.waset.org/abstracts/search?q=deterritorialization" title=" deterritorialization"> deterritorialization</a> </p> <a href="https://publications.waset.org/abstracts/187575/21st-century-middlebrow-film-a-critical-examination-of-the-spectator-experience-in-malayalam-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187575.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">32</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">1401</span> Representation of How Patriarchy Affects Mental Health in Qala and Black Swan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mokshida%20Bhat">Mokshida Bhat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines the representation of patriarchy in the movies 'Qala' and 'Black Swan' and how it affects the mental health of women. Both movies portray female characters who are subject to patriarchal attitudes and structures that limit their choices and opportunities and contribute to negative mental health outcomes. In 'Qala' the central character Qala confronts the patriarchal attitudes of her family and community, which contribute to feelings of frustration and despair. In 'Black Swan' the main character Nina is subject to the demands and expectations of a patriarchal system that leads to anxiety, paranoia, and disconnection from her own body and emotions. Both movies highlight the harmful impact of patriarchal attitudes on women's mental health, including feelings of disempowerment, objectification, and self-doubt. The paper suggests that these negative outcomes can be addressed through a rejection of patriarchal norms and an assertion of one's own agency and identity. Overall, this paper demonstrates the importance of recognizing the role of patriarchy in contributing to mental health struggles for women and the need for more diverse and empowering representations of women in media. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=patriarchy" title="patriarchy">patriarchy</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health" title=" mental health"> mental health</a>, <a href="https://publications.waset.org/abstracts/search?q=depression" title=" depression"> depression</a>, <a href="https://publications.waset.org/abstracts/search?q=PTSD" title=" PTSD"> PTSD</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health%20in%20Indian%20cinema" title=" mental health in Indian cinema"> mental health in Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=patriarchy%20in%20Indian%20cinema" title=" patriarchy in Indian cinema"> patriarchy in Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism%20and%20patriarchy" title=" feminism and patriarchy"> feminism and patriarchy</a>, <a href="https://publications.waset.org/abstracts/search?q=sexism" title=" sexism"> sexism</a> </p> <a href="https://publications.waset.org/abstracts/181947/representation-of-how-patriarchy-affects-mental-health-in-qala-and-black-swan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/181947.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">56</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">1400</span> Impact of Sufism on Indian Cinema: A New Cultural Construct for Mediating Conflict</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ravi%20Chaturvedi">Ravi Chaturvedi</a>, <a href="https://publications.waset.org/abstracts/search?q=Ghanshyam%20Beniwal"> Ghanshyam Beniwal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Without going much into the detail of long history of Sufism in the world and the etymological definition of the word ‘Sufi’, it will be sufficient to underline that the concept of Sufism was to focus the mystic power on the spiritual dimension of Islam with a view-shielding the believers from the outwardly and unrealistic dogma of the faith. Sufis adopted rather a liberal view in propagating the religious order of Islam suitable to the cultural and social environment of the land. It is, in fact, a mission of higher religious order of any faith, which disdains strife and conflict in any form. The joy of self-realization being the essence of religion is experienced after a long spiritual practice. India had Sufi and Bhakti (devotion) traditions in Islam and Hinduism, respectively. Both Sufism and Bhakti traditions were based on respect for different religions. The poorer and lower caste Hindus and Muslims were greatly influenced by these traditions. Unlike Ulemas and Brahmans, the Sufi and Bhakti saints were highly tolerant and open to the truth in other faiths. They never adopted sectarian attitudes and were never involved in power struggles. They kept away from power structures. Sufism is integrated with the Indian cinema since its initial days. In the earliest Bollywood movies, Sufism was represented in the form of qawwali which made its way from dargahs (shrines). Mixing it with pop influences, Hindi movies began using Sufi music in a big way only in the current decade. However, of late, songs with Sufi influences have become de rigueur in almost every film being released these days, irrespective of the genre, whether it is a romantic Gangster or a cerebral Corporate. 'Sufi is in the DNA of the Indian sub-continent', according to several contemporary filmmakers, critics, and spectators.The inherent theatricality motivates the performer of the 'Sufi' rituals for a dramatic behavior. The theatrical force of these stages of Sufi practice is so powerful that even the spectator cannot resist himself from being moved. In a multi-cultural country like India, the mediating streams have acquired a multi-layered importance in recent history. The second half of Indian post-colonial era has witnessed a regular chain of some conflicting religio-political waves arising from various sectarian camps in the country, which have compelled the counter forces to activate for keeping the spirit of composite cultural ethos alive. The study has revealed that the Sufi practice methodology is also being adapted for inclusion of spirituality in life at par to Yoga practice. This paper, a part of research study, is an attempt to establish that the Sufism in Indian cinema is one such mediating voice which is very active and alive throughout the length and width of the country continuously bridging the gap between various religious and social factions, and have a significant role to play in future as well. <p class="card-text"><strong>Keywords:</strong> <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=mediating%20voice" title=" mediating voice"> mediating voice</a>, <a href="https://publications.waset.org/abstracts/search?q=Sufi" title=" Sufi"> Sufi</a>, <a href="https://publications.waset.org/abstracts/search?q=yoga%20practice" title=" yoga practice"> yoga practice</a> </p> <a href="https://publications.waset.org/abstracts/32983/impact-of-sufism-on-indian-cinema-a-new-cultural-construct-for-mediating-conflict" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32983.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">496</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">1399</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">1398</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">1397</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">339</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">1396</span> Act East Policy and the Politics of the Non-Recognized Thai-Indian Diasporic Community in Thailand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruchi%20Agarwal">Ruchi Agarwal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Indian diaspora in Thailand is as ethnically diverse as any other country. Although a relatively small community, the Indian diaspora has long established its roots, some with their fifth generation now living in Thailand. The community has a solid social and economic standing recognized by the host country but lacks connections with its ethnic roots in the home country. The biggest dilemma faced by the younger generation of the Indian diasporic community is the identity crisis. Regardless of being born and brought up in Thailand and possessing Thai citizenship, they do not get recognition as Thais by their Thai counterparts. However, with the Act Asia Policy of the Indian government, there has been an increase in social and political activities organized by old and new Indian associations, bringing new hopes of recognizing the Thai-Indian diasporic community. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian" title="Indian">Indian</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a>, <a href="https://publications.waset.org/abstracts/search?q=diaspora" title=" diaspora"> diaspora</a>, <a href="https://publications.waset.org/abstracts/search?q=Act%20East%20Policy" title=" Act East Policy"> Act East Policy</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai" title=" Thai"> Thai</a> </p> <a href="https://publications.waset.org/abstracts/156586/act-east-policy-and-the-politics-of-the-non-recognized-thai-indian-diasporic-community-in-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156586.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">152</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">1395</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">1394</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">1393</span> Impact of Western Music Instruments on Indian Classical Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hukam%20Chand">Hukam Chand</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past few years, the performance of Indian classical music has been improved a lot due to the technical inclusion of western instruments. Infect, the Indian classical music is all about raags which portray a mood and sentiments expressed through a microtonal scale based on natural harmonic series. And, most of the western instruments are not based on natural harmonic series and the tonal system is the only system which has considerable influence on the Indian classical music. However, the use of western instruments has been growing day by day in one way or the other by the Indian artists due to their quality of harmony. As a result of which, there are some common instruments such as harmonium, violin, guitar, saxophone, synthesizer which are being used commonly by Indian and western artists. On the other hand, a lot of fusion has taken place in the music of both sides due to the similar characteristics in their instruments. For example, harmonium which was originally the western instrument has now acquired an important position in Indian classical music to perform raags. Besides, a lot of suggestions for improving in the Indian music have been given by the artists for technical modification in the western instruments to cater the needs of Indian music through melody approach. Pt. Vishav Mohan Bhatt an Indian musician has developed Mohan Veena (called guitar) to perform raags. N. Rajam the Indian lady Violinist has made a remarkable work on Indian classical music by accompanied with vocal music. The purpose of the present research paper is to highlight the changes in Indian Classical Music through performance by using modified western music instruments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20music" title="Indian classical music">Indian classical music</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20instruments" title=" Western instruments"> Western instruments</a>, <a href="https://publications.waset.org/abstracts/search?q=harmonium" title=" harmonium"> harmonium</a>, <a href="https://publications.waset.org/abstracts/search?q=guitar" title=" guitar"> guitar</a>, <a href="https://publications.waset.org/abstracts/search?q=Violin%20and%20impact" title=" Violin and impact"> Violin and impact</a> </p> <a href="https://publications.waset.org/abstracts/46996/impact-of-western-music-instruments-on-indian-classical-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46996.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">521</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">1392</span> Shameful Heroes of Queer Cinema: A Critique of Mumbai Police (2013) and My Life Partner (2014)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Payal%20Sudhan">Payal Sudhan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Popular films in India, Bollywood, and other local industries make a range of commercial films that attract vast viewership. Love, Heroism, Action, Adventure, Revenge, etc., are some of the dearest themes chosen by many filmmakers of various popular film Industries across the world. However, sexuality has become an issue to address within the cinema. Such films feature in small numbers compared to other themes. One can easily assume that homosexuality is unlikely to be a favorite theme found in Indian popular cinema. It doesn’t mean that there is absolutely no film made on the issues of homosexuality. There have been several attempts. Earlier, some movies depicted homosexual (gay) characters as comedians, which continued until the beginning of the 21st century. The study aims to explore how modern homophobia and stereotype are represented in the films and how it affects homosexuality in the recent Malayalam Cinema. The study wills primarily focusing on Mumbai Police (2013) and My Life Partner (2014). The study tries to explain social space, the idea of a cure, and criminality. The film that has been selected for the analysis Mumbai Police (2013) is a crime thriller. The nonlinear narration of the movie reveals, towards the end, the murderer of ACP Aryan IPS, who was shot dead in a public meeting. In the end, the culprit is the enquiring officer, ACP Antony Moses, himself a close friend and colleague of the victim. Much to one’s curiosity, the primary cause turns out to be the sexual relation Antony has. My Life Partner generically can be classified as a drama. The movie puts forth male bonding and visibly riddles the notions of love and sex between Kiran and his roommate Richard. Running through the same track, the film deals with a different ‘event.’ The ‘event’ is the exclusive celebration of male bonding. The socio-cultural background of the cinema is heterosexual. The elements of heterosexual social setup meet the ends of diplomacy of the Malayalam queer visual culture. The film reveals the life of two gays who were humiliated by the larger heterosexual society. In the end, Kiran dies because of extreme humiliation. The paper is a comparative and cultural analysis of the two movies, My Life Partner and Mumbai Police. I try to bring all the points of comparison together and explain the similarities and differences, how one movie differs from another. Thus, my attempt here explains how stereotypes and homophobia with other related issues are represented in these two movies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=queer%20cinema" title="queer cinema">queer cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=homophobia" title=" homophobia"> homophobia</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=queer%20films" title=" queer films"> queer films</a> </p> <a href="https://publications.waset.org/abstracts/142286/shameful-heroes-of-queer-cinema-a-critique-of-mumbai-police-2013-and-my-life-partner-2014" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142286.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">233</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">1391</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">100</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">1390</span> Gendered Experiences of the Urban Space in India as Portrayed by Hindi Cinema: A Quantitative Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hugo%20Ribadeau%20Dumas">Hugo Ribadeau Dumas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In India, cities represent intense battlefields where patriarchal norms are simultaneously defied and reinforced. While Indian metropolises have witnessed numerous initiatives where women boldly claimed their right to the city, urban spaces still remain disproportionately unfriendly to female city-dwellers. As a result, the presence of strees (women, in Hindi) in the streets remains a socially and politically potent phenomenon. This paper explores how, in India, women engage with the city as compared to men. Borrowing analytical tools from urban geography, it uses Hindi cinema as a medium to map the extent to which activities, attitudes and experiences in urban spaces are highly gendered. The sample consists of 30 movies, both mainstream and independent, which were released between 2010 and 2020, were set in an urban environment and comprised at least one pivotal female character. The paper adopts a quantitative approach, consisting of the scrutiny of close to 3,000 minutes of footage, the labeling and time count of every scene, and the computation of regressions to identify statistical relationships between characters and the way they navigate the city. According to the analysis, female characters spend half less time in the public space than their male counterparts. When they do step out, women do it mostly for utilitarian reasons; inversely, in private spaces or in pseudo-public commercial places – like malls – they indulge in fun activities. For male characters, the pattern is the exact opposite: fun takes place in public and serious work in private. The characters’ attitudes in the streets are also greatly gendered: men spend a significant amount of time immobile, loitering, while women are usually on the move, displaying some sense of purpose. Likewise, body language and emotional expressiveness betray differentiated gender scripts: while women wander in the streets either smiling – in a charming role – or with a hostile face – in a defensive mode – men are more likely to adopt neutral facial expressions. These trends were observed across all movies, although some nuances were identified depending on the character's age group, social background, and city, highlighting that the urban experience is not the same for all women. The empirical pieces of evidence presented in this study are helpful to reflect on the meaning of public space in the context of contemporary Indian cities. The paper ends with a discussion on the link between universal access to public spaces and women's empowerment. <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=Indian%20cities" title=" Indian cities"> Indian cities</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20space" title=" public space"> public space</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20empowerment" title=" women empowerment"> women empowerment</a> </p> <a href="https://publications.waset.org/abstracts/136701/gendered-experiences-of-the-urban-space-in-india-as-portrayed-by-hindi-cinema-a-quantitative-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136701.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">1389</span> Costume Portrayal In K. Asif’s Mughal E Azam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anketa%20Kumar">Anketa Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Rajantheran%20Al%20Muniandy"> Rajantheran Al Muniandy</a>, <a href="https://publications.waset.org/abstracts/search?q=Rishabh%20Kumar"> Rishabh Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For centuries, Indian costumes are admired for their great aesthetics, functional and narrative qualities. The purpose of the current study is to investigate the role of costumes as visual narratives in Hindi Cinema as Filmmaking is simply one of the most recent manifestations of the human desire to tell stories in which costume acts as a tool to be read as an Intertext by the viewers watching the films. The problem that promoted this study arose when clothes become an interesting topic when examined within the social structures in which they are worn. It is this visual image of dress worn by the character that is investigated in this research through Hindi Cinema of the 1960s, which was a reflection of the society in the realistic form. This research intends to integrate the application of Roland Barthes Semiotic theory in analyzing main movie characters in the National Award-Winning Hindi movie Mughal e Azam (1960). The research helps in filling the gap between the singular level of interpretation and another level that offers a solution towards bridging the gap in viewers' manifold interpretation of a particular movie product. This study focuses on how visual appearance communicates for building up of perception and can relate to notions of realism, defining cultural identity and status in the society. The research methodology is subjected analytical technique that employs in this research is qualitative and descriptive in nature with the use of the Freeze frame technique. The portrayal of costumes is explained with Barthes' principles of Semiotics. The freeze-frame technique stops the motion of the film on a single frame and allows the chosen image to be read as a still photograph. The finding during this research into costume portrayal in the movie was that freezing the frame in midst of running the films attracted attention towards intricate costume details, leading to record the nuanced observations of this minutiae during the movie. Given that during the application of interpretation while watching K Asif’s Mughal e Azam focused on certain aspects of costumes of the king. On the same idea, further research can be employed to strengthen the relation between costumes and visual narration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=character%20portrayal" title="character portrayal">character portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</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=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20significance" title=" visual significance"> visual significance</a> </p> <a href="https://publications.waset.org/abstracts/142687/costume-portrayal-in-k-asifs-mughal-e-azam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142687.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">186</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=Indian%20cinema&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Indian%20cinema&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Indian%20cinema&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Indian%20cinema&page=5">5</a></li> <li class="page-item"><a class="page-link" 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