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film theory</title> <meta name="description" content="Search results for: feminist film theory"> <meta name="keywords" content="feminist film theory"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="feminist film theory"> <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> 5997</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: feminist film theory</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5997</span> The Representation of Female Characters by Women Directors in Surveillance Spaces in Turkish Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Berceste%20G%C3%BCl%C3%A7in%20%C3%96zdemir">Berceste Gülçin Özdemir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The representation of women characters in cinema has been discussed for centuries. In cinema where dominant narrative codes prevail and scopophilic views exist over women characters, passive stereotypes of women are observed in the representation of women characters. In films shot from a woman’s point of view in Turkish Cinema and even in the films outside the main stream in which the stories of women characters are told, the fact that women characters are discussed on the basis of feminist film theories triggers the question: ‘Are feminist films produced in Turkish Cinema?’ The spaces that are used in the representation of women characters are observed to be used as spaces that convert characters into passive subjects on the basis of the space factor in the narrative. The representation of women characters in the possible surveillance spaces integrates the characters and compresses them in these spaces. In this study, narrative analysis was used to investigate women characters representation in the surveillance spaces. For the study framework, firstly a case study films are selected, and in the second level, women characters representations in surveillance spaces are argued by narrative analysis using feminist film theories. Two questions are argued with feminist film theories: ‘Why do especially women directors represent their female characters to viewers by representing them in surveillance spaces?’ and ‘Can this type of presentation contribute to the feminist film practice and become important with regard to feminist film theories?’ The representation of women characters in a passive and observed way in surveillance spaces of the narrative reveals the questioning of also the discourses of films outside of the main stream. As films that produce alternative discourses and reveal different cinematic languages, those outside the main stream are expected to bring other points of view also to the representation of women characters in spaces. These questionings are selected as the baseline and Turkish films such as Watch Tower and Mustang, directed by women, were examined. This examination paves the way for discussions regarding the women characters in surveillance spaces. Outcomes can be argued from the viewpoint of representation in the genre by feminist film theories. In the context of feminist film theories and feminist film practice, alternatives should be found that can corporally reveal the existence of women in both the representation of women characters in spaces and in the usage of the space factor. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminist%20film%20theory" title="feminist film theory">feminist film theory</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20directors" title=" women directors"> women directors</a> </p> <a href="https://publications.waset.org/abstracts/64547/the-representation-of-female-characters-by-women-directors-in-surveillance-spaces-in-turkish-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64547.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">287</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">5996</span> 'I Broke the Line Back to the Ancient Ones': Rethinking Intersectional Theory through Wounded Histories in Once Were Warriors (1994) and Whale Rider (2002). </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kerry%20Mackereth">Kerry Mackereth</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Kimberle Crenshaw’s theory of intersectionality has become immensely influential in the fields of women’s and gender studies. However, intersectionality’s widespread use among feminist scholars and activists has been accompanied by critiques of its reliance upon subject categorization. These critiques are of particular import when connected to Wendy Brown’s characterization of identity politics as static 'wounded attachments'. Together, these critiques show how the gridlock model proposed by intersectionality’s primary metaphor, the traffic accident at the intersection, is useful for identifying discrimination but not for remembering historical injustices or imagining feminist and anti-racist resistance. Through the lens of New Zealand Maori film, focusing upon Once Were Warriors (1994) and Whale Rider (2002), this article examines how wounded histories need not be passively reproduced by contemporaneously oppressed groups. Instead, the metaphor of the traffic intersection should be complemented by the metaphor of the wound. Against Brown’s characterization of wounded attachments as negative, static identities, Gloria Anzaldua’s account of the borderland between the United States and Mexico as “una herida abierta”, an open wound, offers an alternative reading of the wound. Through Anzaldua’s and Hortense Spillers’ political thought, the wound is reconceptualized as not only a site of suffering but also as a regenerative space. The coexistence of deterioration and regeneration at the site of the wound underpins the narrative arc of both Once Were Warriors and Whale Rider. In both films, the respective child protagonists attempt to reconcile the pain of wounded histories with the imagination of cultural regeneration. The metaphor of the wound thus serves as an alternative theoretical resource for mapping experiences of oppression, one that enriches feminist theory by balancing the remembrance of historical grievance with the forging of hopeful political projects. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender%20theory" title="gender theory">gender theory</a>, <a href="https://publications.waset.org/abstracts/search?q=historical%20grievance" title=" historical grievance"> historical grievance</a>, <a href="https://publications.waset.org/abstracts/search?q=intersectionality" title=" intersectionality"> intersectionality</a>, <a href="https://publications.waset.org/abstracts/search?q=New%20Zealand%20film" title=" New Zealand film"> New Zealand film</a>, <a href="https://publications.waset.org/abstracts/search?q=postcolonialism" title=" postcolonialism"> postcolonialism</a> </p> <a href="https://publications.waset.org/abstracts/89856/i-broke-the-line-back-to-the-ancient-ones-rethinking-intersectional-theory-through-wounded-histories-in-once-were-warriors-1994-and-whale-rider-2002" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89856.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">253</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">5995</span> Postcolonialism and Feminist Dialogics: Re-Imaging Cultural Exclusion in the Nigerian Feminist Fiction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Dahiru">Muhammad Dahiru</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A contestable polemic in postcolonialism is the Western Universalist conception of the people of a vast continent such as Africa as homogenous. Quite often, the postcolonial African woman is seen as an entity in western cultural and literary feminist theorisations. The debate between the so-called western feminist scholarship and the postcolonial/third world feminists that began in the late 1980s focuses on this universalisation of women’s concerns as monolithic. This article argues that the universalising assumption that all women share similar concerns in not only Africa as a continent but even in Nigeria as a country is misleading because of cultural differences. The article is a dialogic reading of Nigerian literature arguing that there is no culturally normative perspective on Nigerian feminist fiction because of the multifaceted and multicultural concerns of women writers from the different cultural regions in the country. The article concludes that this can better be read and appreciated through the lens of M. M. Bakhtin’s theory of dialogism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20exclusion" title="cultural exclusion">cultural exclusion</a>, <a href="https://publications.waset.org/abstracts/search?q=dialogics" title=" dialogics"> dialogics</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigerian%20feminist%20fiction" title=" Nigerian feminist fiction"> Nigerian feminist fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=postcolonialism" title=" postcolonialism"> postcolonialism</a> </p> <a href="https://publications.waset.org/abstracts/102670/postcolonialism-and-feminist-dialogics-re-imaging-cultural-exclusion-in-the-nigerian-feminist-fiction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102670.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">207</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">5994</span> Analysis of Feminist Translation in Subtitling from Arabic into English: A Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ghada%20Ahmed">Ghada Ahmed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Feminist translation is one of the strategies adopted in the field of translation studies when a gendered content is being rendered from one language to another, and this strategy has been examined in previous studies on written texts. This research, however, addresses the practice of feminist translation in audiovisual texts that are concerned with the screen, dialogue, image and visual aspects. In this thesis, the objectives are studying feminist translation and its adaptation in subtitling from Arabic into English. It addresses the connections between gender and translation as one domain and feminist translation practices with particular consideration of feminist translation strategies in English subtitles. It examines the visibility of the translator throughout the process, assuming that feminist translation is a product directed by the translator’s feminist position, culture, and ideology as a means of helping unshadow women. It also discusses how subtitling constraints impact feminist translation and how the image that has a narrative value can be integrated into the content of the English subtitles. The reasons for conducting this research project are to study language sexism in English and look into Arabic into English gendered content, taking into consideration the Arabic cultural concepts that may lose their connotations when they are translated into English. This research is also analysing the image in an audiovisual text and its contribution to the written dialogue in subtitling. Thus, this research attempts to answer the following questions: To what extent is there a form of affinity between a gendered content and translation? Is feminist translation an act of merely working on a feminist text or feminising the language of any text, by incorporating the translator’s ideology? How can feminist translation practices be applied in an audiovisual text? How likely is it to adapt feminist translation looking into visual components as well as subtitling constraints? Moreover, the paper searches into the fields of gender and translation; feminist translation, language sexism, media studies, and the gap in the literature related to feminist translation practice in visual texts. For my case study, the "Speed Sisters" film has been chosen so as to analyze its English subtitles for my research. The film is a documentary that was produced in 2015 and directed by Amber Fares. It is about five Palestinian women who try to break the stereotypes about women, and have taken their passion about car-racing forward to be the first all-women car-racing driving team in the Middle East. It tackles the issue of gender in both content and language and this is reflected in the translation. As the research topic is semiotic-channelled, the choice for the theoretical approaches varies and combines between translation studies, audiovisual translation, gender studies, and media studies. Each of which will contribute to understanding a specific field of the research and the results will eventually be integrated to achieve the intended objectives in a way that demonstrates rendering a gendered content in one of the audiovisual translation modes from a language into another. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audiovisual%20translation" title="audiovisual translation">audiovisual translation</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist%20translation" title=" feminist translation"> feminist translation</a>, <a href="https://publications.waset.org/abstracts/search?q=films%20gendered%20content" title=" films gendered content"> films gendered content</a>, <a href="https://publications.waset.org/abstracts/search?q=subtitling%20conventions%20and%20constraints" title=" subtitling conventions and constraints"> subtitling conventions and constraints</a> </p> <a href="https://publications.waset.org/abstracts/123981/analysis-of-feminist-translation-in-subtitling-from-arabic-into-english-a-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123981.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">299</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">5993</span> Modernity and Domestic Space in the Feminist Utopias of Herland and Sultana’s Dream</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nudrat%20Kamal">Nudrat Kamal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Scholarship exploring the development of the literary tradition of feminist utopias, especially in the sociopolitical context of Europe and North America, has been important and meaningful, but it is, in large part, still restricted to Euro-American texts. This paper will explore Charlotte Perkins Gilman’s feminist utopia Herland (1915) with another feminist utopia written just a decade before, but in a widely different sociopolitical context: Bengali feminist writer Rokeya Sakhawat Hossain’s English short story Sultana’s Dream (1905). The paper will argue that both texts, despite being written in such different cultural and historical contexts, utilize and subvert the public versus private/domestic sphere dichotomy and the restricted gender roles associated with each sphere in order to conceive of specific formulations of feminist modernities that reflect the sociopolitical contexts and feminist movements both writers were writing within. By bringing Gilman’s Herland into conversation with Hossain’s Sultana’s Dream, the paper hopes to illuminate the new meanings that might emerge if the scholarship on Western feminist utopias was to open itself up to the feminist utopias written elsewhere. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=comparative%20literature" title="comparative literature">comparative literature</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist%20utopias" title=" feminist utopias"> feminist utopias</a>, <a href="https://publications.waset.org/abstracts/search?q=modernity" title=" modernity"> modernity</a>, <a href="https://publications.waset.org/abstracts/search?q=South%20Asian%20literature" title=" South Asian literature"> South Asian literature</a>, <a href="https://publications.waset.org/abstracts/search?q=utopias" title=" utopias"> utopias</a> </p> <a href="https://publications.waset.org/abstracts/82291/modernity-and-domestic-space-in-the-feminist-utopias-of-herland-and-sultanas-dream" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82291.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">240</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">5992</span> A Mainstream Aesthetic for African American Female Filmmakers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tracy%20L.%20F.%20Worley">Tracy L. F. Worley</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This presentation explores the environment that has limited leadership opportunities for Black women in cinema and advocates for autonomy among Black women filmmakers that is facilitated by strong internal and external networks and cooperative opportunities. Early images of African Americans in motion pictures were often conceptualized from the viewpoint of a White male director and depicted by White actors. The black film evolved in opposition to this context, leading to a Black film aesthetic. The oppositional context created in response to racist, misogynistic, and sexist representations in motion pictures sets the tone for female filmmakers of every hue – but especially for African American women. For them, the context of a male gaze, and for all intents and purposes, a White male gaze, forces them to create their own aesthetic. Theoretically, men and women, filmmakers and spectators have different perspectives across race, ethnicity, and gender. Two feminist theorists, bell hooks and Mary Ann Doane, suggest that female filmmakers are perceived as disparate from male filmmakers and that women, in general, are defined by what men see. Mary Ann Doane, a White feminist film theorist, has focused extensively on female spectatorship and women (White) in general as the object of the male gaze. Her discussion of the female body, male perception of it, and feminism in the motion picture industry support the suggestion that comprehending the organization and composition of Hollywood is critical to understanding women’s roles in the industry. Although much of her research addresses the silent film era and women’s roles then, Doane suggests that across cinematic periods, the theory assigned to “cinematic apparatus” is formulated within a context of sexuality. Men and women are viewed and treated differently in cinema (in front of and behind the camera), with women’s attractiveness and allure photographed specifically for the benefit of the “spectatorial desire” of the male gaze. Bell Hooks, an African American feminist writer and theorist with more than 30 published books and articles on race, gender, class, and culture in feminism and education, suggests that women can overcome the male gaze by using their “oppositional gaze” to transform reality and establish their own truth. She addresses gender within the context of race by acknowledging the realities faced by African American women and the fact that the feminist movement was never intended to include Black women. A grounded theory study led to the development of a leadership theory that explains why African American women are disproportionately represented in a mainstream motion picture leadership. The study helped to reveal the barriers to entry and illuminated potential strategies that African American female motion picture directors might pursue to reduce this inequity. Using semi-structured interviews as the primary means for data collection, the lived experiences of African American female directors and organizational leadership’s perceived role in the perpetuation of negative female imagery in major motion pictures led to the identification of support strategies for African American female motion picture directors that counter social stereotyping and validate the need for social networking in the mainstream. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=African%20American" title="African American">African American</a>, <a href="https://publications.waset.org/abstracts/search?q=cinema" title=" cinema"> cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=directors" title=" directors"> directors</a>, <a href="https://publications.waset.org/abstracts/search?q=filmmaking" title=" filmmaking"> filmmaking</a>, <a href="https://publications.waset.org/abstracts/search?q=leadership" title=" leadership"> leadership</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a> </p> <a href="https://publications.waset.org/abstracts/155319/a-mainstream-aesthetic-for-african-american-female-filmmakers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155319.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">66</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">5991</span> Legalizing Prostitution: Providing Equality Amongst Men and Women in the Criminal Justice System through a Socialist Feminist Framework</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amanda%20Rebman">Amanda Rebman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper challenges the criminal justice system’s traditional stance regarding prostitution. Historically, the acceptance and morality of prostitution within the United States has fluctuated depending upon the social attitudes of the era. Today, prostitutes are allegedly viewed as victims; however, they are treated like criminals throughout the criminal justice system and society. Dominant patriarchal narratives within the United States has resulted in woman lacking autonomy over their bodies and diminished their ability to choose their own career. Even though prostitutes are deemed victims, many times, they are convicted of crimes, a practice that results in further victimization. Utilizing the socialist feminist theory to understand these juxtaposing positions on whether to legalize prostitution facilitates a greater understanding of how patriarchal capitalist arrangements ensure the oppression of women throughout the criminal justice system. The legalization of prostitution will alleviate some of this oppression and ensure a more equal treatment of women in the criminal justice system and society at large. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=equality" title="equality">equality</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist%20theory" title=" feminist theory"> feminist theory</a>, <a href="https://publications.waset.org/abstracts/search?q=prostitution" title=" prostitution"> prostitution</a>, <a href="https://publications.waset.org/abstracts/search?q=sex%20work" title=" sex work"> sex work</a> </p> <a href="https://publications.waset.org/abstracts/137008/legalizing-prostitution-providing-equality-amongst-men-and-women-in-the-criminal-justice-system-through-a-socialist-feminist-framework" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137008.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">136</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">5990</span> The Constitution of Kenya, 2010, and the Feminist Legal Theory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tecla%20Rita%20Karendi">Tecla Rita Karendi</a>, <a href="https://publications.waset.org/abstracts/search?q=Andy%20Cons%20Matata"> Andy Cons Matata</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Although before and at the advent of colonial administration, several women such as Mekatilili wa Menza and Muthoni Nyanjiru took up leadership positions in resisting the colonial administration. Kenya is generally considered a patriarchal society. Many women who tried to take up positions of leadership in postcolonial Kenya, such as the Nobel Prize winner Wangari Maathai, were branded as prostitutes or generally immoral women. However, the Constitution of Kenya, 2010, has since made a huge impact not only in the area of affirmative action but also in various aspects of the feminist legal theory such as the constitutional requirement that no more than two-thirds of the members of the elective or appointive bodies should be of the same gender. This favours women who are often sidelined in elective posts such as parliament or county assemblies and state-appointed posts in the parastatals and commissions. The constitution also recognizes the right to abortion, which was outrightly outlawed in the independence constitution. Certain practices adverse to women’s health, such as wife inheritance, female genital mutilation, and property rights, are either outlawed or framed to recognized women’s rights. The education of the girl-child is also now considered a priority, unlike in the past. Despite these developments, a lot remains to be done. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminist%20legal%20theory" title="feminist legal theory">feminist legal theory</a>, <a href="https://publications.waset.org/abstracts/search?q=constitution%20of%20Kenya" title=" constitution of Kenya"> constitution of Kenya</a>, <a href="https://publications.waset.org/abstracts/search?q=2010" title=" 2010"> 2010</a>, <a href="https://publications.waset.org/abstracts/search?q=affirmative%20action" title=" affirmative action"> affirmative action</a>, <a href="https://publications.waset.org/abstracts/search?q=leadership" title=" leadership"> leadership</a> </p> <a href="https://publications.waset.org/abstracts/117636/the-constitution-of-kenya-2010-and-the-feminist-legal-theory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/117636.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">225</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">5989</span> Redefining Lesbian Representation: The Evolution of Queer Female Desire in the Films of Céline Sciamma</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Athira%20Sanjeev">Athira Sanjeev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The portrayal of lesbianism in cinema has undergone significant transformations. This study explores the evolving portrayal of lesbianism in the films of French director Céline Sciamma, focusing on how her works have redefined the representation of queer women in contemporary cinema. Through an analysis of Water Lilies (2007), Tomboy (2011), and Portrait of a Lady on Fire (2019), the study investigates the ways in which Sciamma’s films diverge from traditional depictions of lesbianism in film, which often relied on either fetishization or tragedy. Instead, Sciamma adopts a quiet, minimalist style that foregrounds emotional intimacy, offering a more nuanced and authentic portrayal of lesbian relationships. Through a comparative analysis of these films, this research explores the thematic and stylistic progression of Sciamma’s portrayal of lesbianism, highlighting her commitment to centering queer female experiences. The research highlights Sciamma's commitment to focusing on the complexities of desire, identity formation, and the female gaze, particularly through her use of visual storytelling, character development, and narrative silence. Her films emphasize the fluidity of gender and sexuality, portraying lesbianism not as a fixed identity but as part of a broader spectrum of human desire. Sciamma’s nuanced approach resists the traditional marginalization of lesbian characters, allowing them to exist as individuals rather than as plot devices or objects of spectacle. This study draws from queer theory and feminist film criticism to examine how Sciamma challenges conventional heteronormative narratives, prioritizes the female gaze, and subverts traditional cinematic representations of lesbian desire. It also explores how her work contributes to a broader conversation on the representation of queerness in contemporary French cinema, challenging heteronormative paradigms and offering new possibilities for depicting female relationships on screen. By tracing the evolution of her films, this research contributes to broader discussions on LGBTQ+ visibility in cinema and the cultural significance of lesbian representation in contemporary cinema. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20gaze" title="female gaze">female gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist%20film%20criticism" title=" feminist film criticism"> feminist film criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=lesbianism%20in%20cinema" title=" lesbianism in cinema"> lesbianism in cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=queer%20theory" title=" queer theory"> queer theory</a> </p> <a href="https://publications.waset.org/abstracts/191236/redefining-lesbian-representation-the-evolution-of-queer-female-desire-in-the-films-of-celine-sciamma" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191236.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">18</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">5988</span> Traits and Dilemma: Feminism and Multiple Demands in Young Chinese Female-Directed Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Deng%20Qiaoshan">Deng Qiaoshan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of feminism in the global film industry, feminist expressions in Chinese films have also evolved, reflecting societal focus on gender issues. This article focuses on young Chinese female directors such as Yang Lina, Teng Congcong, and Yang Mingming. Their films now present richer female perspectives and consciously incorporate unique female life experiences. They highlight women's real-life struggles, portraying ’struggling’ female identities—characters facing professional failures and desire identity issues, ultimately returning to family roles. These films commonly explore the ‘mother-daughter relationship’, with some using genre storytelling for commercial appeal and others deconstructing the ‘myth of motherhood’ to reflect reality, rewriting traditional maternal roles. The ‘struggling’ female identity in these directors' films shows an aesthetic of ‘pseudo-reality’, blending realistic situations with poetic, lyrical elements, reflecting their creative traits and internal conflicts. These contradictions are closely related to the unique creative context of Chinese cinema in which they operate. Emerging under China's strict film censorship system, film industrialization, consumerist culture, and internet environment, new-generation directors face multiple demands. How to ‘survive’ amidst complex commercial requirements while creating films with a clear feminist consciousness is the fundamental dilemma faced by young Chinese female directors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20directors" title="female directors">female directors</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism%20film" title=" feminism film"> feminism film</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20dilemma" title=" female dilemma"> female dilemma</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20censorship%20system" title=" film censorship system"> film censorship system</a> </p> <a href="https://publications.waset.org/abstracts/187326/traits-and-dilemma-feminism-and-multiple-demands-in-young-chinese-female-directed-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187326.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">42</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">5987</span> Bringing Feminist Critical Pedagogy to the ESP Higher Education Classes: Feasibility and Challenges</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samira%20Essabari">Samira Essabari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> What, unfortunately, governs the Moroccan educational philosophy and policy today is a concerning neoliberal discourse with its obsession with market logics and individualism. Critical education has been advocated to resist the neoliberal hegemony since it holds the promise to reclaim the social function of education. Significantly, the mounting forms of sexism and discrimination against women combined with hegemonic educational practices are jeopardizing the social function of teaching and learning, hence the relevance of feminist critical pedagogy. A substantial body of research worldwide has explored the ways in which feminist pedagogy can develop feminist consciousness and examine power relations in different educational contexts. In Morocco, however, the feasibility of feminist pedagogy has not been researched despite the overwhelming interest in gender issues in different educational settings. The research on critical pedagogies in Morocco remains very promising. Yet, most studies were conducted in contexts which are already engaged with issues of theory, discourse, and discourse analysis. The field of ESP ( English for Specific Purposes) is pragmatic by nature, and priority in research has been given to questions that adhere to the mainstream concerns of need analysis and study skills and ignore issues of power, gender power relations, and intersectional forms of oppression. To address these gaps in the existing literature, this participatory action research seeks to investigate the feasibility of Feminist pedagogy in ESP higher education and how it can foster feminist critical consciousness among ESP students without compromising their language learning needs. The findings of this research will contribute to research on critical applied linguistics and critical ESP more specifically and add to the practice of critical pedagogies in Moroccan higher education by providing in-depth insights into the enablers and barriers to the implementation of feminist critical pedagogy, which is still feeling its way into the educational scene in Morocco. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminist%20pedagogy" title="feminist pedagogy">feminist pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20pedagogy" title=" critical pedagogy"> critical pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=power%20relations" title=" power relations"> power relations</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=ESP" title=" ESP"> ESP</a>, <a href="https://publications.waset.org/abstracts/search?q=intersectionality" title=" intersectionality"> intersectionality</a> </p> <a href="https://publications.waset.org/abstracts/152405/bringing-feminist-critical-pedagogy-to-the-esp-higher-education-classes-feasibility-and-challenges" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152405.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">129</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">5986</span> From Myth to Screen: A Cultural Criticism of the Adaptation of Nordic Mythology in Marvel Cinematic Universe’s Thor Trilogy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vathya%20Anindita%20Putri">Vathya Anindita Putri</a>, <a href="https://publications.waset.org/abstracts/search?q=Henny%20Saptatia%20Drajati%20Nugrahani"> Henny Saptatia Drajati Nugrahani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research aims to explore the representation of Nordic mythology in the commercial film titled “Thor” produced by the Marvel Cinematic Universe. First, the Nordic mythology adaptation and representation in “Thor” compared to other media. Second, the importance of using the mise en scene technique, the comprehensive portrayal of Nordic mythology and the audience's experiences in enjoying the film. This research is conducted using qualitative methods. The two research questions are analyzed using three theories: Adaptation theory by Robert Stam, Mise en Scene theory by Jean-Luc Godard, and Cultural Criticism theory by Michel Foucault. Robert Stam emphasizes the importance of social and historical in understanding film adaptations. Film adaptations always occur in a specific cultural and historical context; therefore, authors and producers must consider these factors when creating a successful adaptation. Jean-Luc Godard uses the “politiques des auteurs” approach to understand that films are not just cultural products made for entertainment, but they are works of art by authors and directors. It is important to explore how authors and directors convey their ideas and emotions in their films, in this case, a film set in Nordic mythology. Foucault takes an approach to analyzing power that considers how power operates and influences social relationships in a specific context. Foucault’s theory is used to analyze how the representation of Nordic mythology is used as an instrument of power by the Marvel Cinematic Universe to influence how the audience views Nordic mythology. The initial findings of this research are that the fusion of Nordic mythology with modern superhero storytelling in the film “Thor” produced by Marvel, is successful. The film contains conflicts in the modern world and represents the symbolism of Nordic mythology. The rich and interesting atmosphere of Nordic mythology is presented through epic battle scenes, captivating character roles, and the use of visual effects that make the film more vivid and real. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adaptation%20theory" title="adaptation theory">adaptation theory</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20criticism%20theory" title=" cultural criticism theory"> cultural criticism theory</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=Marvel%20cinematic%20universe" title=" Marvel cinematic universe"> Marvel cinematic universe</a>, <a href="https://publications.waset.org/abstracts/search?q=Mise%20en%20Scene%20theory" title=" Mise en Scene theory"> Mise en Scene theory</a>, <a href="https://publications.waset.org/abstracts/search?q=Nordic%20mythology" title=" Nordic mythology"> Nordic mythology</a> </p> <a href="https://publications.waset.org/abstracts/167067/from-myth-to-screen-a-cultural-criticism-of-the-adaptation-of-nordic-mythology-in-marvel-cinematic-universes-thor-trilogy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167067.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">86</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">5985</span> The Complementary Explanations of Institutional and Feminist Perspectives for Female Social Enterprise in Pakistan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Sohail%20Yunis">Mohammad Sohail Yunis</a>, <a href="https://publications.waset.org/abstracts/search?q=Hina%20Hashim"> Hina Hashim</a>, <a href="https://publications.waset.org/abstracts/search?q=Alistair%20R.%20Anderson"> Alistair R. Anderson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Entrepreneurship is gendered with masculine qualities, yet social enterprise epitomizes caring a feminine quality. However enterprising practices may have little to do with gender. Consequently, the purpose of this paper is to examine practices using two very different explanatory theories, feminist and institutional theory, to establish the role played by gender. This study is situated in KP, the poor but traditional north of Pakistan. Utilising on an interpretive qualitative research approach, this research collected data through in-depth interviews with ten women social entrepreneurs of KP, Pakistan and analyzed using thematic analysis. Empirically, this paper identifies and describes on a number of interesting themes that relate to the women entrepreneurship such as 'women empowerment, patriarchal culture, role of culture and societal norms, religious extremism and terrorism, forced entrepreneurs, change creators, institutional corruption, and security issues'. In addition, female social enterprise in KP is set in a patriarchal, masculine culture, but the practices negotiate institutional obstacles to bring benefits to the disenfranchised. Finally, this research claims to present an original insight into female social entrepreneurship in a developing country context and provide fresh theoretical and empirical perspectives to advance knowledge and scholarship. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20social%20entrepreneurship" title="female social entrepreneurship">female social entrepreneurship</a>, <a href="https://publications.waset.org/abstracts/search?q=institutional%20theory" title=" institutional theory"> institutional theory</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist%20theory" title=" feminist theory"> feminist theory</a>, <a href="https://publications.waset.org/abstracts/search?q=developing%20countries" title=" developing countries"> developing countries</a> </p> <a href="https://publications.waset.org/abstracts/83007/the-complementary-explanations-of-institutional-and-feminist-perspectives-for-female-social-enterprise-in-pakistan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83007.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">219</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">5984</span> The Application of Film-Induced Tourism in the Promotion of Nigeria: An Analysis of the Movie Up North</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samuel%20Onyije%20Igbedion">Samuel Onyije Igbedion</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Nigerian film industry, commonly known as Nollywood, has grown to become the second largest in the world in terms of the volumes of films produced. Many scholars have argued that the themes in most Nollywood films do not let themselves to the issue of film-induced tourism, which can be used to improve tourism in Nigeria and the economy at large. This study, therefore, seeks to examine the validity of this statement in the context of one film that attempts to address the issue. This paper examines the features of tourism-induced films to determine if tourism-inducing themes were used in the film and how they were used in order to confirm or refute the thesis statement. The agenda-setting theory of the media underpinned the study. A qualitative research approach was adopted and content analysis was used to review literature from relevant secondary sources that determined the content criteria, which was then used to analyze the film. The findings reveal that the filmmakers of Up North (2018) did feature themes and scenes that promoted tourism through the use and filming of exotic scenery. It also revealed that the film introduced these tourism-inducing features of the north through the setting, the storyline, the choice of locations and chosen shot types. The study concludes that the prominent and intentional featuring all of these beautiful scenery, history, culture, adventure activities and personalities point to a deliberate attempt at convincing the audiences of the tourist potential of Nigeria. Thus, the validity of the statement does not apply to the film Up North (2018). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film-tourism" title="film-tourism">film-tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=nollywood" title=" nollywood"> nollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=agenda-setting%20theory" title=" agenda-setting theory"> agenda-setting theory</a>, <a href="https://publications.waset.org/abstracts/search?q=filmmaking" title=" filmmaking"> filmmaking</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a> </p> <a href="https://publications.waset.org/abstracts/164575/the-application-of-film-induced-tourism-in-the-promotion-of-nigeria-an-analysis-of-the-movie-up-north" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164575.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">77</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">5983</span> Principles of Editing and Storytelling in Relation to Editorial Graphic Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melike%20Tascioglu">Melike Tascioglu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to combine film editing principles to basic design principles to explore what graphic designers do in terms of storytelling. The sequential aspect of film is designed and examined through the art of editing. Examining the rules, principles and formulas of film editing can be a method for graphic designers to further practice the art of storytelling. Although there are many research and publications on design basics, time, pace, dramatic structure and choreography are not very well defined in the area of graphic design. In this era of creative storytelling and interdisciplinary collaboration, not only film editors but also graphic designers and students in the arts and design should understand the theory and practice of editing to be able to create a strong mise-en-scène and not only a mise-en-page. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20principles" title="design principles">design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editing%20principles" title=" editing principles"> editing principles</a>, <a href="https://publications.waset.org/abstracts/search?q=editorial%20design" title=" editorial design"> editorial design</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20editing" title=" film editing"> film editing</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title=" graphic design"> graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=storytelling" title=" storytelling"> storytelling</a> </p> <a href="https://publications.waset.org/abstracts/3528/principles-of-editing-and-storytelling-in-relation-to-editorial-graphic-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3528.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">331</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">5982</span> Political Empowerment of Japanese Women: Roles and Strategies of Social Movements and Feminist Groups</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Soliman%20Rosemary">Soliman Rosemary</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Despite the widespread movements towards democratization in most countries, women are still largely underrepresented at most levels of governments, especially in ministerial and other executive bodies. This paper is going to focus on the status quo of women political marginalization in Japan and the role social movements, feminist groups and campaigns play in raising the number of female politicians in administrative decision making process. The paper will raise some Japanese feminist groups such as ‘WIN WIN’ and ‘Q no Kai’ and other feminist groups as case studies. The study will help in furthering the understanding of women political empowerment in Japan and the strategies of contemporary social movements in raising the awareness of the importance of gender quota in the electoral system to be able to place new items on the political agenda that reflect and address women's gender-specific concerns, values and experiences, and providing new perspectives on mainstream political issues. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminist" title="feminist">feminist</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20empowerment" title=" political empowerment"> political empowerment</a>, <a href="https://publications.waset.org/abstracts/search?q=quota" title=" quota"> quota</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20movements" title=" social movements"> social movements</a> </p> <a href="https://publications.waset.org/abstracts/63381/political-empowerment-of-japanese-women-roles-and-strategies-of-social-movements-and-feminist-groups" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63381.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">324</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">5981</span> Investigation about Structural and Optical Properties of Bulk and Thin Film of 1H-CaAlSi by Density Functional Method</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Babaeipour">M. Babaeipour</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Vejdanihemmat"> M. Vejdanihemmat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Optical properties of bulk and thin film of 1H-CaAlSi for two directions (1,0,0) and (0,0,1) were studied. The calculations are carried out by Density Functional Theory (DFT) method using full potential. GGA approximation was used to calculate exchange-correlation energy. The calculations are performed by WIEN2k package. The results showed that the absorption edge is shifted backward 0.82eV in the thin film than the bulk for both directions. The static values of the real part of dielectric function for four cases were obtained. The static values of the refractive index for four cases are calculated too. The reflectivity graphs have shown an intensive difference between the reflectivity of the thin film and the bulk in the ultraviolet region. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=1H-CaAlSi" title="1H-CaAlSi">1H-CaAlSi</a>, <a href="https://publications.waset.org/abstracts/search?q=absorption" title=" absorption"> absorption</a>, <a href="https://publications.waset.org/abstracts/search?q=bulk" title=" bulk"> bulk</a>, <a href="https://publications.waset.org/abstracts/search?q=optical" title=" optical"> optical</a>, <a href="https://publications.waset.org/abstracts/search?q=thin%20film" title=" thin film"> thin film</a> </p> <a href="https://publications.waset.org/abstracts/30993/investigation-about-structural-and-optical-properties-of-bulk-and-thin-film-of-1h-caalsi-by-density-functional-method" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30993.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">518</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">5980</span> Crowdfunding in Funding Lithuanian Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Irena%20Alperyte">Irena Alperyte</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since the regaining of the Independence, the Lithuanian state has been confronting an increasingly dramatic challenge because of the lack of funding sources dedicated to the film industries. During the Soviet times, Lithuanian film was under a total supervision of the Soviet functioners. This means that the responsibility of the state to make movies was of a monopolist character. The filmmakers’ community of the newly independent state needed to learn how to develop their fundraising skills, co-production and marketing techniques. Currently, Lithuanian film is experiencing a new phase concerning its funding: it is exploring the possibilities of motivating the public to invest in entertainment via crowd funding and crowd sourcing techniques and making these activities an alternative way of funding films. The paper aims at the exploration of the existing film financing practices in Lithuania and abroad and provides recommendations on how to improve the alternative Lithuanian film financing strategy via employing new possibilities, such as crowd funding and other alternative marketing tools. Objectives: 1) To examine the theories on creative industries and possibilities for their application. 2) To analyze the current situation in the film industry Lithuania. 3) To analyze the statistical data on movie theater visitors in Lithuania. 4) To discuss alternative options for film financing system. 5) To look through the alternative funding strategies tailored for Lithuanian film industry. 6) To propose recommendations for alternative funding strategies in Lithuanian film fundraising. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative%20industries" title="creative industries">creative industries</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=funding" title=" funding"> funding</a>, <a href="https://publications.waset.org/abstracts/search?q=fun%20theory" title=" fun theory"> fun theory</a> </p> <a href="https://publications.waset.org/abstracts/55720/crowdfunding-in-funding-lithuanian-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55720.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">347</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">5979</span> Strategic Risk Issues for Film Distributors of Hindi Film Industry in Mumbai: A Grounded Theory Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rashmi%20Dyondi">Rashmi Dyondi</a>, <a href="https://publications.waset.org/abstracts/search?q=Shishir%20K.%20Jha"> Shishir K. Jha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the paper is to address the strategic risk issues surrounding Hindi film distribution in Mumbai for a film distributor, who acts as an entrepreneur when launching a product (movie) in the market (film territory).The paper undertakes a fundamental review of films and risk in the Hindi film industry and applies Grounded Theory technique to understand the complex phenomena of risk taking behavior of the film distributors (both independent and studios) in Mumbai. Rich in-depth interviews with distributors are coded to develop core categories through constant comparison leading to conceptualization of the phenomena of interest. This paper is a first-of-its-kind-attempt to understand risk behavior of a distributor, which is akin to entrepreneurial risk behavior under conditions of uncertainty. Unlike extensive scholarly work on dynamics of Hollywood motion picture industry, Hindi film industry is an under-researched area till now. Especially how do film distributors perceive risk is an unexplored study for the Hindi film industry. Films are unique experience products and the film distributor acts as an entrepreneur assuming high risks given the uncertainty in the motion picture business. With the entry of mighty corporate studios and astronomical film budgets posing serious business threats to the independent distributors, there is a need for an in-depth qualitative enquiry (applying grounded theory technique) for unraveling the definition of risk for the independent distributors in Mumbai vis-à-vis the corporate studios. Need for good content was a common challenge to both the groups in the present state of the industry, however corporate studios with their distinct ideologies, focus on own productions and financial power faced different set of challenges than the independents (like achieving sustainability in business). Softer issues like market goodwill and relations with producers, honesty in business dealings and transparency came out to be clear markers for success of independents in long run. The findings from the qualitative analysis stress on different elements of risk and challenges as perceived by the two groups of distributors in the Hindi film industry and provide a future research agenda for empirical investigation of determinants of box-office success of Hindi films distributed in Mumbai. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=entrepreneurial%20risk%20behavior" title="entrepreneurial risk behavior">entrepreneurial risk behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution%20strategy" title=" film distribution strategy"> film distribution strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20film%20industry" title=" Hindi film industry"> Hindi film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=risk" title=" risk "> risk </a> </p> <a href="https://publications.waset.org/abstracts/30088/strategic-risk-issues-for-film-distributors-of-hindi-film-industry-in-mumbai-a-grounded-theory-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30088.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">313</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">5978</span> Teaching during the Pandemic Using a Feminist Pedagogy: Classroom Conversations and Practices</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=T.%20Northcut">T. Northcut</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Rai"> A. Rai</a>, <a href="https://publications.waset.org/abstracts/search?q=N.%20Perkins"> N. Perkins</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: The COVID-19 pandemic has had a serious impact on academia in general and social work education in particular, changing permanently the way in which we approach educating students. The new reality of the pandemic coupled with the much-needed focus on racism across the country inspired and required educators to get creative with their teaching styles in order to disrupt the power imbalance in the classroom and attend to the multiple layers of needs of diverse students in precarious sociological and economic circumstances. This paper highlights research examining educators with distinctive positionalities and approaches to classroom instruction who use feminist and antiracist pedagogies while adapting to online teaching during the pandemic. Despite being feminist scholars, whose ideologies developed during different waves of feminism, our commitment to having student-led classrooms, liberation, and equity of all, and striving for social change, unified our feminist teaching pedagogies as well as provided interpersonal support. Methodology: Following a narrative qualitative inquiry methodology, the five authors of this paper came together to discuss our pedagogical styles and underlying values using Zoom in a series of six conversations. Narrative inquiry is an appropriate method to use when researchers are bound by common stories or personal experiences. The use of feminist pedagogy in the classroom before and during the pandemic guided the discussions. After six sessions, we reached the point of data saturation. All data from the dialogic process was recorded and transcribed. We used in vivo, narrative, and descriptive coding for the data analytic process. Results: Analysis of the data revealed several themes, which included (1) the influence of our positionalities as an intersection of race, sexual orientation, gender, and years of teaching experience in the classroom, (2) the meaning and variations between different liberatory pedagogical approaches, (3) the tensions between these approaches and institutional policies and practices, (4) the role of self-reflection in everyday teaching, (5) the distinctions between theory and practice and its utility for students, and (6) the challenges of applying a feminist-centered pedagogical approach during the pandemic while utilizing an online platform. As a collective, we discussed several challenges that limited the use of our feminist pedagogical approaches due to instruction through Zoom. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminist" title="feminist">feminist</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title=" pedagogy"> pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=COVID" title=" COVID"> COVID</a>, <a href="https://publications.waset.org/abstracts/search?q=zoom" title=" zoom"> zoom</a> </p> <a href="https://publications.waset.org/abstracts/184073/teaching-during-the-pandemic-using-a-feminist-pedagogy-classroom-conversations-and-practices" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184073.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">44</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5977</span> Commercialization of Film Festivals: An Autobiographical Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96nder%20M.%20%C3%96zdem">Önder M. Özdem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Producing and circulating films of professional standards have become technically easier with the development and widespread use of digital recording and distribution technologies. Additionally, film festivals on common platforms have rapidly increased in numbers and diversity. On the one hand, no-charge applications result in excessive submissions; thus, it complicates the evaluation and selection process. On the other hand, festival’s high submission fees may make the distribution of films with a limited budget very difficult. Inspired by the author’s engagement with the film industry as both a pre-jury member of an international film festival and an applicant to many festivals, this study discusses the causes and consequences of the increasing commercialization of film festivals. The author’s double identity, both as a jury and an applicant, provides a comparative perspective through which one can unfold the different dimensions and dynamics in the film production and distribution processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=commercialization" title="commercialization">commercialization</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution" title=" film distribution"> film distribution</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title=" film festivals"> film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20production" title=" film production"> film production</a> </p> <a href="https://publications.waset.org/abstracts/166277/commercialization-of-film-festivals-an-autobiographical-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166277.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">77</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">5976</span> The Intersection of Disability, Race and Gender in Keah Brown's 'The Pretty One: A Discrit and Black Feminist Disability Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mehena%20Fedoul">Mehena Fedoul</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines the intersection of race, gender, and disability through a Critical disability race theory and black feminist disability perspective in Keah Brown's memoir, "The Pretty One." The background of the study highlights the significance of intersectionality in understanding the multifaceted experiences of individuals who navigate multiple marginalized identities. The study contributes to the underrepresented field of disability studies from Critical race and black feminist perspectives, shedding light on the unique challenges and resilience of black disabled women. The study employs a qualitative analysis of Keah Brown's memoir as a primary text. Drawing on intersectionality theory and black feminist disability scholarship, the analysis focuses on how Brown's memoir illuminates the ways in which her race, gender, and disability intersect and shape her lived experiences. The analysis reveals how Brown's memoir challenges traditional notions of disability, beauty, and empowerment through the unapologetic celebration of her blackness, femaleness, and disability. The major findings of the study indicate that Brown's memoir provides a powerful narrative of the complexity, uniqueness and richness of the lived experiences of black disabled women. It demonstrates how the intersectionality of race, gender, and disability shapes Brown's identity, body image, relationships, and societal interactions. The paper also highlights how Brown's memoir emphasizes the importance of inclusivity and intersectionality in understanding and addressing the challenges faced by black disabled women. In conclusion, this study offers a critical analysis of the intersection of race, gender, and disability in Keah Brown's memoir, "The Pretty One," from a black feminist disability perspective. It contributes to the growing body of literature that recognizes the significance of intersectionality in understanding the experiences of marginalized individuals in the disability community. The study underscores the need for more inclusive and intersectional perspectives in disability studies and advocates for greater recognition of the voices and experiences of black disabled women in academic and societal discourse. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability%20studies" title="disability studies">disability studies</a>, <a href="https://publications.waset.org/abstracts/search?q=intersectionality" title=" intersectionality"> intersectionality</a>, <a href="https://publications.waset.org/abstracts/search?q=black%20feminism" title=" black feminism"> black feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=Keah%20Brown" title=" Keah Brown"> Keah Brown</a> </p> <a href="https://publications.waset.org/abstracts/166562/the-intersection-of-disability-race-and-gender-in-keah-browns-the-pretty-one-a-discrit-and-black-feminist-disability-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166562.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">106</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">5975</span> Maternal-Fetal Bonding for African American Mothers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tracey%20Estriplet-Adams">Tracey Estriplet-Adams</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper focuses on the influence of maternal-fetal bonding by examining attachment theory, psycho-social-cultural influences/adaptations, and maternal well-being. A systematic review methodology was used to synthesize research results to summarize current evidence that can contribute to evidence-based practices. It explores the relationship between attachment styles, prenatal attachment, and perceptions of maternal-infant bonding/attachment six weeks postpartum. It also examines the protective factors of maternal-fetal attachment development. The research explores Bowlby's attachment theory and its relevance to maternal-fetal bonding with a Black Feminist Theory lens. Additionally, it discusses the impact of perceived stress, social support, and ecological models on maternal-fetal attachment. The relationship between maternal well-being, maternal-fetal attachment, and early postpartum bonding is reviewed. Moreover, the paper specifically addresses black mothers and maternal-fetal bonding, exploring the intersectionality of race, ethnicity, class, geographic location, cultural identities, and immigration status. It considers the role of familial and partner support, as well as the relationship between maternal attachment style and maternal-fetal bonding, within the framework of attachment theory and black feminist theory. Therefore, it is imperative to center Black women's voices in research, policy, and healthcare practices. Black women are experts in their own experiences and advocate for their autonomy in decision-making regarding maternal-fetal health. By amplifying their voices, we can ensure that interventions are grounded in their lived experiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=maternal-fetal%20bonding" title="maternal-fetal bonding">maternal-fetal bonding</a>, <a href="https://publications.waset.org/abstracts/search?q=infant%20well-being" title=" infant well-being"> infant well-being</a>, <a href="https://publications.waset.org/abstracts/search?q=maternal-infant%20attachment" title=" maternal-infant attachment"> maternal-infant attachment</a>, <a href="https://publications.waset.org/abstracts/search?q=black%20mothers" title=" black mothers"> black mothers</a> </p> <a href="https://publications.waset.org/abstracts/172819/maternal-fetal-bonding-for-african-american-mothers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172819.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">5974</span> Analysis of Casting Call Process in Thai Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Panprae%20Bunyapukkna">Panprae Bunyapukkna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research is to analyze the process that most of the Thai film industries commonly use in order to find the right cast to play the role. The result proved that most of the low-budget film productions find the cast by asking from the crew’s friends or friend of friend. Therefore, finding the cast in low-budget film productions normally has only few people shown up for the auditions and sometimes either none of them has acting knowledge or their appearances do not match the character. However, since most of the low-budget film productions do not have much ability to find members of the cast, thus some of them still will be selected. On the other hand, most of the high-budget film productions use modeling companies to find the cast for them. However, most of modeling agencies in Thailand seek and select their cast members from the cast’s appearances or talents rather than the knowledge of acting. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=casting%20for%20film" title="casting for film">casting for film</a>, <a href="https://publications.waset.org/abstracts/search?q=modeling%20business" title=" modeling business"> modeling business</a>, <a href="https://publications.waset.org/abstracts/search?q=acting" title=" acting"> acting</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20business" title=" film business"> film business</a> </p> <a href="https://publications.waset.org/abstracts/12956/analysis-of-casting-call-process-in-thai-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12956.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">424</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">5973</span> Decolonialism: Addressing Colonial Legacies and Challenging Dominant Narratives</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Amorim%20Da%20Silva">Patricia Amorim Da Silva</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the ongoing process of decolonialism, focusing on addressing the lasting consequences of colonialism. Centred on identity within marginalized communities, the study challenges Eurocentric frameworks and advocates for diverse perspectives. Emphasizing critical self-awareness among researchers regarding biases in their work, decolonialism influences feminist theory and global counter-publics. At its core is the concept of epistemicide, the intentional suppression of knowledge in unequal cultural interactions. Colonial imposition has devalued local knowledge, contributing to cultural loss and undermining autonomy. The paper underscores the importance of reclaiming indigenous knowledge to revitalize local cultures and languages, particularly pertinent to the Brazilian context. This contribution to the discourse on decolonialism underscores the imperative to challenge prevailing narratives and empower historically subordinated communities. The study aspires to advance feminist theory and decolonial studies, fostering a more equitable and inclusive global society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=decolonialism" title="decolonialism">decolonialism</a>, <a href="https://publications.waset.org/abstracts/search?q=colonial%20legacies" title=" colonial legacies"> colonial legacies</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=Eurocentrism" title=" Eurocentrism"> Eurocentrism</a>, <a href="https://publications.waset.org/abstracts/search?q=epistemicide" title=" epistemicide"> epistemicide</a> </p> <a href="https://publications.waset.org/abstracts/176647/decolonialism-addressing-colonial-legacies-and-challenging-dominant-narratives" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176647.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">59</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">5972</span> Political Economy of Social Movements: The Influence of Capitalism on the Emergence of the Feminist Movement in Ukraine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nadiya%20Didyk">Nadiya Didyk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This thesis deals with the unique history of the emergence of the Ukrainian feminist movement. Ukrainian feminism is still in its making, so the field is under-investigated in general. Nevertheless, the perspective of political economy and the enabling and constraining effects of capitalist dynamics are almost absent from the research on the emergence and the development of the feminist movement in Ukraine. This research was inspired by Hetland and Goodwin’s approach and an attempt to test their approach on the case of the Ukrainian feminist movement. Hetland and Goodwin claim that many scholars tend to neglect political economy from analysis of feminism as a new social movements, namely because such movement are not about class or materialist concerns, and thus have no discernible connection to capitalism. Both scholars, however, point out that there at least four ways in which capitalism has been of high importance for any social movement. Accordingly, the following issues are analysed in this paper: capitalism as the facilitator of the emergence and development of Ukrainian feminism; the influence of class balance in society on the formation of the Ukrainian feminist movement, and the ways in which class divisions within the movement shape its goals and strategies. This paper also focuses on the role of capitalist institutions and free wage labour expansion in shaping collective feminist identities and solidarities. Specific attention is paid to the representativeness of women in the highest echelons in business and politics under the capitalist systems. This study shows that there is a significant hole in the literature regarding the feminist movement in Ukraine and aims to motivate further detailed research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminism" title="feminism">feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=hetland" title=" hetland"> hetland</a>, <a href="https://publications.waset.org/abstracts/search?q=goodwin" title=" goodwin"> goodwin</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20soical%20movements" title=" new soical movements"> new soical movements</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20economy" title=" political economy"> political economy</a> </p> <a href="https://publications.waset.org/abstracts/29598/political-economy-of-social-movements-the-influence-of-capitalism-on-the-emergence-of-the-feminist-movement-in-ukraine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29598.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">312</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">5971</span> Menopause Cultural Research: A Comparative Study of National and Diasporic Chinese Menopausal Women’s Perceptions and Lived Experience of Menopause</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yilin%20Wang">Yilin Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Ayumi%20Goto"> Ayumi Goto</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Although most females will experience menopause due to social value habits of cultural factors, some Chinese women may lack the confidence to talk about the problems they are experiencing while going through menopause. Also, sometimes the inappropriateness of medical terminology leads to panic when women face the symptoms associated with menopause. On top of that, when women avoid discussing menopause as a topic, others are less likely to pay attention to the needs of menopausal women as their bodies change. This research will compare the experience of Chinese menopausal women and diasporic Chinese women's perceptions of menopause. A qualitative study will be conducted by collecting and analyzing experiences and perceptions to compare differences in women's perceptions of menopause, considering cultural and social factors. In addition, the study will gather information on the differences in the conceptualization of menopause between the Chinese and Canadian medical fields. Co-design sessions will be held to establish how to bring menopause to the attention of people other than women. Furthermore, a support network for menopause women will be created through these co-design sessions. It is hoped that this research will contribute to a proper understanding of menopause and provide support for Chinese women. This research is built upon feminist standpoint theory and inclusive design theory. The results of this study will be presented in this paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=menopause" title="menopause">menopause</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist%20standpoint%20theory" title=" feminist standpoint theory"> feminist standpoint theory</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20national%20%26%20diasporic%20women" title=" Chinese national & diasporic women"> Chinese national & diasporic women</a>, <a href="https://publications.waset.org/abstracts/search?q=inclusive%20design" title=" inclusive design"> inclusive design</a> </p> <a href="https://publications.waset.org/abstracts/155273/menopause-cultural-research-a-comparative-study-of-national-and-diasporic-chinese-menopausal-womens-perceptions-and-lived-experience-of-menopause" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155273.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">107</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">5970</span> Silence the Silence No More: A Translanguaging Analysis of Two Silent Scenes in Wong Kar-Wai’s Multi-Genre Film ‘2046’</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Liu%20M.%20Hanmin">Liu M. Hanmin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Wong Kar-Wai’s multi-genre film 2046, world premiered in 2004, comes with a vibrant mediascape made up of multiple named languages, code-switching, intertitles, news footage from the real world, and extra-linguistic means of communication. In film- and multilingual studies it is still a challenge to incorporate non-languages into an analytical framework with conventional languages. This paper uses translanguaging theory to read silent practices in Wong Kar-Wai’ 2046. Two scenes that feature the silence experience the most are taken as case studies. In these two scenes, we can identify two tropes of intersemiotic relationships that are co-articulated by silence: patriarchy and unfinished romance, respectively. The conclusion argues that silence in Wong Kar-Wai’s 2046 exerts multimodal agency by ‘speaking’ directly to the audience and in mutual directions to characters. Thereby, it moves beyond the passive role of merely accentuating or assisting the aural register of a film. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=translanguaging" title="translanguaging">translanguaging</a>, <a href="https://publications.waset.org/abstracts/search?q=Wong%20Kar-Wai" title=" Wong Kar-Wai"> Wong Kar-Wai</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodality" title=" multimodality"> multimodality</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=inter%20semiotics" title=" inter semiotics"> inter semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Hong%20Kong%20media" title=" Hong Kong media"> Hong Kong media</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20culture" title=" film culture"> film culture</a> </p> <a href="https://publications.waset.org/abstracts/163911/silence-the-silence-no-more-a-translanguaging-analysis-of-two-silent-scenes-in-wong-kar-wais-multi-genre-film-2046" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163911.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">103</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">5969</span> Temperature Coefficients of the Refractive Index for Ge Film</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lingmao%20Xu">Lingmao Xu</a>, <a href="https://publications.waset.org/abstracts/search?q=Hui%20Zhou"> Hui Zhou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ge film is widely used in infrared optical systems. Because of the special requirements of space application, it is usually used in low temperature. The refractive index of Ge film is always changed with the temperature which has a great effect on the manufacture of high precision infrared optical film. Specimens of Ge single film were deposited at ZnSe substrates by EB-PVD method. During temperature range 80K ~ 300K, the transmittance of Ge single film within 2 ~ 15 μm were measured every 20K by PerkinElmer FTIR cryogenic testing system. By the full spectrum inversion method fitting, the relationship between refractive index and wavelength within 2 ~ 12μm at different temperatures was received. It can be seen the relationship consistent with the formula Cauchy, which can be fitted. Then the relationship between refractive index of the Ge film and temperature/wavelength was obtained by fitting method based on formula Cauchy. Finally, the designed value obtained by the formula and the measured spectrum were compared to verify the accuracy of the formula. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=infrared%20optical%20film" title="infrared optical film">infrared optical film</a>, <a href="https://publications.waset.org/abstracts/search?q=low%20temperature" title=" low temperature"> low temperature</a>, <a href="https://publications.waset.org/abstracts/search?q=thermal%20refractive%20coefficient" title=" thermal refractive coefficient"> thermal refractive coefficient</a>, <a href="https://publications.waset.org/abstracts/search?q=Ge%20film" title=" Ge film"> Ge film</a> </p> <a href="https://publications.waset.org/abstracts/71052/temperature-coefficients-of-the-refractive-index-for-ge-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71052.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">298</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">5968</span> Affective Approach to Selected Ingmar Bergman Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Grzegorz%20Zinkiewicz">Grzegorz Zinkiewicz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper explores affective potential implicit in Bergman’s movies. This is done by the use of affect theory and the concept of affect in terms of paradigmatic and syntagmatic relations, from both diachronic and synchronic perspective. Since its inception in the early 2000s, affect theory has been applied to a number of academic fields. In Film Studies, it offers new avenues for discovering deeper, hidden layers of a given film. The aim is to show that the form and content of the films by Ingmar Bergman are determined by their inner affects that function independently of the viewer and, to an extent, are autonomous entities that can be analysed in separation from the auteur and actual characters. The paper discovers layers in Ingmar Bergman films and focuses on aspects that are often marginalised or studied from other viewpoints such as the connection between the content and visual side. As a result, a revaluation of Bergman films is possible that is more consistent with his original interpretations and comments included in his lectures, interviews and autobiography. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=affect%20theory" title="affect theory">affect theory</a>, <a href="https://publications.waset.org/abstracts/search?q=experimental%20cinema" title=" experimental cinema"> experimental cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Ingmar%20Bergman" title=" Ingmar Bergman"> Ingmar Bergman</a>, <a href="https://publications.waset.org/abstracts/search?q=viewer%20response" title=" viewer response"> viewer response</a> </p> <a href="https://publications.waset.org/abstracts/121824/affective-approach-to-selected-ingmar-bergman-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/121824.pdf" target="_blank" class="btn btn-primary 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