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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="cartoon movies"> <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> 144</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: cartoon movies</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">144</span> Positive Impact of Cartoon Movies on Adults </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yacoub%20Aljaffery">Yacoub Aljaffery</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As much as we think negatively about social media such as TV and smart phones, there are many positive benefits our society can get from it. Cartoons, for example, are made specifically for children. However, in this paper, we will prove how cartoon videos can have a positive impact on adults, especially college students. Since cartoons are meant to be a good learning tool for children, as well as adults, we will show our audience how they can use cartoon in teaching critical thinking and other language skills. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=social%20media" title="social media">social media</a>, <a href="https://publications.waset.org/abstracts/search?q=TV" title=" TV"> TV</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching" title=" teaching"> teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=learning" title=" learning"> learning</a>, <a href="https://publications.waset.org/abstracts/search?q=cartoon%20movies" title=" cartoon movies "> cartoon movies </a> </p> <a href="https://publications.waset.org/abstracts/27389/positive-impact-of-cartoon-movies-on-adults" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27389.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">143</span> Movies and Dynamic Mathematical Objects on Trigonometry for Mobile Phones</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kazuhisa%20Takagi">Kazuhisa Takagi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper is about movies and dynamic objects for mobile phones. Dynamic objects are the software programmed by JavaScript. They consist of geometric figures and work on HTML5-compliant browsers. Mobile phones are very popular among teenagers. They like watching movies and playing games on them. So, mathematics movies and dynamic objects would enhance teaching and learning processes. In the movies, manga characters speak with artificially synchronized voices. They teach trigonometry together with dynamic mathematical objects. Many movies are created. They are Windows Media files or MP4 movies. These movies and dynamic objects are not only used in the classroom but also distributed to students. By watching movies, students can study trigonometry before or after class. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dynamic%20mathematical%20object" title="dynamic mathematical object">dynamic mathematical object</a>, <a href="https://publications.waset.org/abstracts/search?q=javascript" title=" javascript"> javascript</a>, <a href="https://publications.waset.org/abstracts/search?q=google%20drive" title=" google drive"> google drive</a>, <a href="https://publications.waset.org/abstracts/search?q=transfer%20jet" title=" transfer jet"> transfer jet</a> </p> <a href="https://publications.waset.org/abstracts/67497/movies-and-dynamic-mathematical-objects-on-trigonometry-for-mobile-phones" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67497.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">260</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">142</span> Animated Movies and Violence: A Participant Observatory Research on Nigerian Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Uchenna%20Bella%20Onu">Uchenna Bella Onu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Violence has become a deadly plague in Nigeria and is spreading at an alarming rate. There is every indication that in a normal person, violence is not inborn but learned. Animated movies, which are designed to amuse and entertain children may contain a level of violence. These violent animated movies may affect the susceptible minds of children. This paper examines the effect of selected animated movies on Nigerian children. Sample is on Nigerian children aged seven and below. Method explored is participant observation with visual arts and visual technologies in a natural and familiar environment. Visual arts are used to draw out the innermost feelings of the young children. Findings show that animated movies have strong effect on Nigerian children. Whether the effect will be negative or positive depends largely on the content of the animated movies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=animated%20movies" title="animated movies">animated movies</a>, <a href="https://publications.waset.org/abstracts/search?q=drawings" title=" drawings"> drawings</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigerian%20children" title=" Nigerian children"> Nigerian children</a>, <a href="https://publications.waset.org/abstracts/search?q=videos" title=" videos"> videos</a>, <a href="https://publications.waset.org/abstracts/search?q=violence" title=" violence"> violence</a> </p> <a href="https://publications.waset.org/abstracts/43706/animated-movies-and-violence-a-participant-observatory-research-on-nigerian-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43706.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">292</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">141</span> A Proposed Program for Postgraduates in Egypt to Acquire the Skills and Techniques for Producing Concept Cartoons for Kindergarten Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Amin%20Mousa">Ahmed Amin Mousa</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Abd%20El%20Salam"> M. Abd El Salam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The current study presents a proposed program for acquisition the skills and techniques needed to produce concept cartoon. The proposed program has been prepared for non-specialist students who have never used neither graphics nor animating software. It was presented to postgraduates in Faculty of Education for Early Childhood, Cairo University, during the spring term of the 2014-2015 academic year. The program works in three different aspects: Drawing and images editing, sound manipulation, and creating animation. In addition, the researchers have prepared a questionnaire for measuring the quality of the concept cartoons produced by the students. The questionnaire was used as a pre-test and post-test, and at the end of the study, a significant difference was determined in favour of post-test results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cartoon" title="cartoon">cartoon</a>, <a href="https://publications.waset.org/abstracts/search?q=concept%20cartoon" title=" concept cartoon"> concept cartoon</a>, <a href="https://publications.waset.org/abstracts/search?q=kindergarten" title=" kindergarten"> kindergarten</a>, <a href="https://publications.waset.org/abstracts/search?q=animation" title=" animation"> animation</a> </p> <a href="https://publications.waset.org/abstracts/48075/a-proposed-program-for-postgraduates-in-egypt-to-acquire-the-skills-and-techniques-for-producing-concept-cartoons-for-kindergarten-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/48075.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">435</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">140</span> The Perception of Teacher Candidates' on History in Non-Educational TV Series: The Magnificent Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Evren%20%C5%9Ear%20%C4%B0%C5%9Fbilen">Evren Şar İşbilen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As it is known, the movies and tv series are occupying a large part in the daily lives of adults and children in our era. In this connection, in the present study, the most popular historical TV series of recent years in Turkey, “Muhteşem Yüzyıl” (The Magnificent Century), was selected as the sample for the data collection in order to explore the perception of history of university students’. The data collected was analyzed bothqualitatively and quantitatively. The findings discussed in relation to the possible educative effects of historical non-educational TV series and movies on students' perceptions related to history. Additionally, suggestions were made regarding to the utilization of non-educational TV series or movies in education in a positive way. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education" title="education">education</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%20candidates" title=" teacher candidates"> teacher candidates</a> </p> <a href="https://publications.waset.org/abstracts/16822/the-perception-of-teacher-candidates-on-history-in-non-educational-tv-series-the-magnificent-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/16822.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">333</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">139</span> The Use of Bimodal Subtitles on Netflix English Movies in Enhancing Vocabulary</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=John%20Lloyd%20Angolluan">John Lloyd Angolluan</a>, <a href="https://publications.waset.org/abstracts/search?q=Jennile%20Caday"> Jennile Caday</a>, <a href="https://publications.waset.org/abstracts/search?q=Crystal%20Mae%20Estrella"> Crystal Mae Estrella</a>, <a href="https://publications.waset.org/abstracts/search?q=Reike%20Alliyah%20Taladua"> Reike Alliyah Taladua</a>, <a href="https://publications.waset.org/abstracts/search?q=Zion%20Michael%20Ysulat"> Zion Michael Ysulat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the requirements of having the ability to communicate in English is by having adequate vocabulary. Nowadays, people are more engaged in watching movie streams on which they can watch movies in a very portable way, such as Netflix. Wherein Netflix became global demand for online media has taken off in recent years. This research aims to know whether the use of bimodal subtitles on Netflix English movies can enhance vocabulary. This study is quantitative and utilizes a descriptive method, and this study aims to explore the use of bimodal subtitles on Netflix English movies to enhance the vocabulary of students. The respondents of the study were the selected Second-year English majors of Rizal Technological University Pasig and Boni Campus using the purposive sampling technique. The researcher conducted a survey questionnaire through the use of Google Forms. In this study, the weighted mean was used to evaluate the student's responses to the statement of the problems of the study of the use of bimodal subtitles on Netflix English movies. The findings of this study revealed that the bimodal subtitle on Netflix English movies enhanced students’ vocabulary learning acquisition by providing learners with access to large amounts of real and comprehensible language input, whether accidentally or intentionally, and it turns out that bimodal subtitles on Netflix English movies help students recognize vocabulary, which has a positive impact on their vocabulary building. Therefore, the researchers advocate that watching English Netflix movies enhances students' vocabulary by using bimodal subtitled movie material during their language learning process, which may increase their motivation and the usage of bimodal subtitles in learning new vocabulary. Bimodal subtitles need to be incorporated into educational film activities to provide students with a vast amount of input to expand their vocabulary. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bimodal%20subtitles" title="bimodal subtitles">bimodal subtitles</a>, <a href="https://publications.waset.org/abstracts/search?q=Netflix" title=" Netflix"> Netflix</a>, <a href="https://publications.waset.org/abstracts/search?q=English%20movies" title=" English movies"> English movies</a>, <a href="https://publications.waset.org/abstracts/search?q=vocabulary" title=" vocabulary"> vocabulary</a>, <a href="https://publications.waset.org/abstracts/search?q=subtitle" title=" subtitle"> subtitle</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=media" title=" media"> media</a> </p> <a href="https://publications.waset.org/abstracts/163745/the-use-of-bimodal-subtitles-on-netflix-english-movies-in-enhancing-vocabulary" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163745.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">85</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">138</span> Investigating Differential Psychological Impact of Translated Movies: An Experimental Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sonakshi%20%20Saxena">Sonakshi Saxena</a>, <a href="https://publications.waset.org/abstracts/search?q=Moosath%20Harishankar%20Vasudevan"> Moosath Harishankar Vasudevan </a> </p> <p class="card-text"><strong>Abstract:</strong></p> The current study seeks to investigate the differences in the psychological impact of movies in their original and translated versions. International cinema is exemplar of the success of globalization. The multitude of languages in the global village does not seem to impede the common cinematic goal of filmmakers across linguistic boundaries. To understand, hence, whether the psychological impact of movies, intentional or otherwise, is preserved when the original is translated into a different language, an experimental design was adopted. Multilingual participants in the age group 18-25 years were recruited for the same. A control group and an experimental group were randomly assigned and the psychological impacts of movies were studied under two conditions- a) watching the movie in its original language, and b) watching the movie in its original language as well as translated version. For the second condition, the experimental group was further divided into two groups randomly to balance order effects. The major aspects of psychological impact assessed were emotional impact and attitude towards the movie. The scores were compared for the two groups. It is further discussed whether the experience is salient across language or do languages inherently possess the ability to alter experiences of the audience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=experimental%20design" title="experimental design">experimental design</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=psychological%20impact" title=" psychological impact"> psychological impact</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a> </p> <a href="https://publications.waset.org/abstracts/87262/investigating-differential-psychological-impact-of-translated-movies-an-experimental-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87262.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">397</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">137</span> The Implication of News Segments and Movies for Enhancing Listening Comprehension of Language Learners</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taher%20Bahrani">Taher Bahrani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Armed with technological development, the present study aimed at gauging the effectiveness of exposure to news and movies as two types of audio-visual programs on improving language learners’ listening comprehension at the intermediate level. To this end, a listening comprehension test was administered to 108 language learners and finally 60 language learners were selected as intermediate language learners and randomly divided into group one and group two. During the experiment, group one participants had exposure to audio-visual news stories to work on in-and out-side the classroom. On the contrary, the participants in group two had only exposure to a sample selected utterances extracted from different kinds of movies. At the end of the experiment, both groups took another sample listening test to find out to what extent the participants in each group could enhance their listening comprehension. The results obtained from the post-test were indicative of the fact that the participants who had exposure to news outperformed the participants who had exposure to movies. The findings of the present research seem to indicate that the language input embedded in the type of audio-visual programs which language learners are exposed to is more important than the amount of exposure. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio-visual%20news" title="audio-visual news">audio-visual news</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=listening%20comprehension" title=" listening comprehension"> listening comprehension</a>, <a href="https://publications.waset.org/abstracts/search?q=intermediate%20level" title=" intermediate level"> intermediate level</a> </p> <a href="https://publications.waset.org/abstracts/32291/the-implication-of-news-segments-and-movies-for-enhancing-listening-comprehension-of-language-learners" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32291.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">382</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">136</span> Learning English from Movies: An Exploratory Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yasamiyan%20Alolaywi">Yasamiyan Alolaywi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The sources of second language acquisition vary and depend on a learner’s preferences and choices; however, undoubtedly, the most effective methods provide authentic language input. This current study explores the effectiveness of watching movies as a means of English language acquisition. It explores university students’ views on the impact of this method in improving English language skills. The participants in this study were 74 students (25 males and 49 females) from the Department of English Language and Translation at Qassim University, Saudi Arabia. Data for this research were collected from questionnaires and individual interviews with several selected students. The findings of this study showed that many students watch movies frequently and for various purposes, the most important of which is entertainment. The students also admitted that movies help them acquire a great deal of vocabulary and develop their listening and writing skills. Also, the participants believed that exposure to a target language by native speakers helps enhance language fluency and proficiency. The students learn not only linguistic aspects from films but also other aspects, such as culture, lifestyle, and ways of thinking, in addition to learning other languages such as Spanish. In light of these results, some recommendations are proposed, such as verifying the feasibility of integrating media into a foreign language classroom. While this study covers aspects of the relationship between watching movies and English language acquisition, knowledge gaps remain that need to be filled by further research, such as on incorporating media into the educational process and how movie subtitles can improve learners’ language skills. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=language%20acquisition" title="language acquisition">language acquisition</a>, <a href="https://publications.waset.org/abstracts/search?q=English%20movies" title=" English movies"> English movies</a>, <a href="https://publications.waset.org/abstracts/search?q=EFL%20learners" title=" EFL learners"> EFL learners</a>, <a href="https://publications.waset.org/abstracts/search?q=perceptions" title=" perceptions"> perceptions</a> </p> <a href="https://publications.waset.org/abstracts/146278/learning-english-from-movies-an-exploratory-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146278.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">101</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">135</span> A Study on Explicitation Strategies Employed in Persian Subtitling of English Crime Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hossein%20Heidari%20Tabrizi">Hossein Heidari Tabrizi</a>, <a href="https://publications.waset.org/abstracts/search?q=Azizeh%20Chalak"> Azizeh Chalak</a>, <a href="https://publications.waset.org/abstracts/search?q=Hossein%20Enayat"> Hossein Enayat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study seeks to investigate the application of expansion strategy in Persian subtitles of English crime movies. More precisely, this study aims at classifying the different types of expansion used in subtitles as well as investigating the appropriateness or inappropriateness of the application of each type. To achieve this end, three English movies; namely, The Net (1995), Contact (1997) and Mission Impossible 2 (2000), available with Persian subtitles, were selected for the study. To collect the data, the above mentioned movies were watched and those parts of the Persian subtitles in which expansion had been used were identified and extracted along with their English dialogs. Then, the extracted Persian subtitles were classified based on the reason that led to expansion in each case. Next, the appropriateness or inappropriateness of using expansion in the extracted Persian subtitles was descriptively investigated. Finally, an equivalent not containing any expansion was proposed for those cases in which the meaning could be fully transferred without this strategy. The findings of the study indicated that the reasons range from explicitation (explicitation of visual, co-textual and contextual information), mistranslation and paraphrasing to the preferences of subtitlers. Furthermore, it was found that the employment of expansion strategy was inappropriate in all cases except for those caused by explicitation of contextual information since correct and shorter equivalents which were equally capable of conveying the intended meaning could be posited for the original dialogs. <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=English%20crime%20movies" title=" English crime movies"> English crime movies</a>, <a href="https://publications.waset.org/abstracts/search?q=expansion%20strategies" title=" expansion strategies"> expansion strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=Persian%20subtitles" title=" Persian subtitles"> Persian subtitles</a> </p> <a href="https://publications.waset.org/abstracts/34785/a-study-on-explicitation-strategies-employed-in-persian-subtitling-of-english-crime-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34785.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">468</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">134</span> A Case Study of Zhang Yimou, Using Color Evidence From “Hero and the Shadow” and How the Color Is Symbolized in Contemporary Society?</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rakiba%20Sultana">Rakiba Sultana</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper investigates how different colors are used and bring symbolic meaning comparatively in Zhang Yimou's movies Hero and Shadow. The study also explores how those colors are symbolized in contemporary society. The researcher analyzes the movies Hero and the Shadow to investigate them using colors and how they are used in contemporary society. Hero exposes the colorful colors to expose the Chinese traditions, whereas Shadow explores the gray, black, and white with the ink paints. Also, in contemporary society, sometimes, the author gets a similar symbolic meaning of the colors. Sometimes, the contemporary's meaning is different from the one used in these two movies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20movie" title="Chinese movie">Chinese movie</a>, <a href="https://publications.waset.org/abstracts/search?q=visuals" title=" visuals"> visuals</a>, <a href="https://publications.waset.org/abstracts/search?q=colors" title=" colors"> colors</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20painting" title=" traditional painting"> traditional painting</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20society" title=" contemporary society"> contemporary society</a>, <a href="https://publications.waset.org/abstracts/search?q=and%20Western%20countries" title=" and Western countries"> and Western countries</a> </p> <a href="https://publications.waset.org/abstracts/153113/a-case-study-of-zhang-yimou-using-color-evidence-from-hero-and-the-shadow-and-how-the-color-is-symbolized-in-contemporary-society" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153113.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">112</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">133</span> Women Presentation and Roles in Arab-Israeli Female Filmmakers Movies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mariam%20Farah">Mariam Farah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the beginning of the 21 century, female Arab directors entered the industry of cinema in Israel. Before their entrance, the Palestinian cinema, directed in Israel and in other places in the world, was defined as political-masculine cinema. The recent research wonders if the entrance of female directors to the Arab-Israeli cinema brings a new, feminist and un- common discourse, just like female directors movies in other cultures. The research also examines which gendered, social and political identities or statements do the Arab female directors reveal in their works, and what do they say about their real life? In order to get answers to the previous questions, the paper conducts a narrative comparative research between movies that was directed by female and male Arab-Israeli directors. The narrative research examines specific categories in each movie such as: main topic, women role, women appearance and women characteristics. The findings show that a new discourse replaces the political-masculine traditional discourse in the Palestinian cinema. Female Arab directors in Israel leave aside the main theme in Palestinian movies: the Israeli-Palestinian conflict, and replace it with new themes related to women lives and reality. Women in female directors movies are presented within non-traditional, empowering, and feminist identities: independent, strong, and active women. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminism" title="feminism">feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20presentation" title=" women presentation"> women presentation</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20roles" title=" women roles"> women roles</a> </p> <a href="https://publications.waset.org/abstracts/51430/women-presentation-and-roles-in-arab-israeli-female-filmmakers-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/51430.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">500</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">132</span> Consumer Behavior and Marketing Mixed Factor Effect on Consumer Decision Making for Independent Movies Presented in Lido Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pongsawee%20Supanonth">Pongsawee Supanonth</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to investigate the consumer behavior and marketing mixed factor affect on consumer decision making for independent movies presented in Lido cinema. The research method will use quantitative research, data was collected by questionnaires distributed to the audience in the Lido cinema for 400 sample by accidental sampling technique. Data was analyzed by descriptive statistic including percentage, mean, standard deviation and inferential statistic including independent t-test for hypothesis testing. The results showed that marketing mixed factors affecting consumer decision-making for Independent movies presented in Lido cinema by gender as different as less than the 0.05 significance level, it was found that the kind of movie ,quality of theater ,price of ticket, facility of watching movies, staff services and promotion of Lido cinema respectively had a vital influence on their attention and response which makes the advertisement more attractive is in harmony with the research hypotheses also. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=consumer%20behavior" title="consumer behavior">consumer behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing%20mixed%20factor" title=" marketing mixed factor"> marketing mixed factor</a>, <a href="https://publications.waset.org/abstracts/search?q=resonance" title=" resonance"> resonance</a>, <a href="https://publications.waset.org/abstracts/search?q=consumer%20decision%20making" title=" consumer decision making"> consumer decision making</a>, <a href="https://publications.waset.org/abstracts/search?q=Lido%20cinema" title=" Lido cinema"> Lido cinema</a> </p> <a href="https://publications.waset.org/abstracts/39943/consumer-behavior-and-marketing-mixed-factor-effect-on-consumer-decision-making-for-independent-movies-presented-in-lido-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39943.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">311</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">131</span> The Impact of Female Characters on a Movie’s Return on Investment</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raghav%20Lakhotia">Raghav Lakhotia</a>, <a href="https://publications.waset.org/abstracts/search?q=Sameer%20Ganu"> Sameer Ganu</a>, <a href="https://publications.waset.org/abstracts/search?q=Anshul%20Goel"> Anshul Goel</a>, <a href="https://publications.waset.org/abstracts/search?q=Abhishek%20Kumar"> Abhishek Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the age and times where women’s empowerment is a significant topic of discussion, we aim to analyze the potential gender diversity influence on box office revenues. The following research is carried out by collecting data from 400 Hollywood movies between the years 2014-2017 and performing regression analysis to find a correlation between the presence of female characters in movies and their return on investment (ROI). The paper finds that there is a positive relationship between the performance of the movies (its ROI) and the gender diversity i.e. the more the number of female characters, the higher the revenue generated. Another factor such as Number of Votes also has a direct impact on the revenue of the movie. The research not only takes into consideration the mere presence of women on screen but also the exchange of at least one dialogue among themselves, which is presented by the Bechdel Score of the movie. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bechdel" title="Bechdel">Bechdel</a>, <a href="https://publications.waset.org/abstracts/search?q=diversity" title=" diversity"> diversity</a>, <a href="https://publications.waset.org/abstracts/search?q=Hollywood" title=" Hollywood"> Hollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=return%20on%20investment" title=" return on investment"> return on investment</a> </p> <a href="https://publications.waset.org/abstracts/94030/the-impact-of-female-characters-on-a-movies-return-on-investment" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/94030.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">200</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">130</span> Projection of Health Issues in Contemporary Indian Cinema: A Study on Selected Bollywood Movies </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sananda%20Mukherjee">Sananda Mukherjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Nandini%20Lakshmikantha"> Nandini Lakshmikantha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Films are considered as the most influential form of mass media. To attract audience films are made on various themes and issues which are assumed to have an impact on the behavioural pattern of the society. Among the various issues that have been bothering Indian society, health is primary. Thus it is important and interesting to study how health is being projected in Bollywood which is largely considered by the world as Indian cinema. This study tries to focus its attention on some select popular movies made in the recent decade and will try to analyse its content and significance of the same with the contemporary Indian society. It is evident that some of the movies made projecting health issues have earned good box office revenues, but have they been successful in making the public understand the significance of health issues they have been trying to project, is an interesting area to understand. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=box%20office" title="box office">box office</a>, <a href="https://publications.waset.org/abstracts/search?q=health%20issues" title=" health issues"> health issues</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cinema" title=" Indian cinema"> Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20awareness" title=" social awareness "> social awareness </a> </p> <a href="https://publications.waset.org/abstracts/85748/projection-of-health-issues-in-contemporary-indian-cinema-a-study-on-selected-bollywood-movies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85748.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">216</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">129</span> Examining the Dubbing Strategies Used in the Egyptian Dubbed Version of Mulan (1998)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaza%20Melies">Shaza Melies</a>, <a href="https://publications.waset.org/abstracts/search?q=Saadeya%20Salem"> Saadeya Salem</a>, <a href="https://publications.waset.org/abstracts/search?q=Seham%20Kareh"> Seham Kareh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cartoon films are multisemiotic as various modes integrate in the production of meaning. This study aims to examine the cultural and linguistic specific references in the Egyptian dubbed cartoon film <em>Mulan</em>. The study examines the translation strategies implemented in the Egyptian dubbed version of Mulan to meet the cultural preferences of the audience. The study reached the following findings: Using the traditional translation strategies does not deliver the intended meaning of the source text and causes loss in the intended humor. As a result, the findings showed that in the dubbed version, translators tend to omit, change, or add information to the target text to be accepted by the audience. The contrastive analysis of the Mulan (English and dubbed versions) proves the connotations that the dubbing has taken to be accepted by the target audience. Cartoon films are multisemiotic as various modes integrate in the production of meaning. This study aims to examine the cultural and linguistic specific references in the Egyptian dubbed cartoon film <em>Mulan</em>. The study examines the translation strategies implemented in the Egyptian dubbed version of Mulan to meet the cultural preferences of the audience. The study reached the following findings: Using the traditional translation strategies does not deliver the intended meaning of the source text and causes loss in the intended humor. As a result, the findings showed that in the dubbed version, translators tend to omit, change, or add information to the target text to be accepted by the audience. The contrastive analysis of the Mulan (English and dubbed versions) proves the connotations that the dubbing has taken to be accepted by the target audience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=domestication" title="domestication">domestication</a>, <a href="https://publications.waset.org/abstracts/search?q=dubbing" title=" dubbing"> dubbing</a>, <a href="https://publications.waset.org/abstracts/search?q=Mulan" title=" Mulan"> Mulan</a>, <a href="https://publications.waset.org/abstracts/search?q=translation%20theories" title=" translation theories"> translation theories</a> </p> <a href="https://publications.waset.org/abstracts/133613/examining-the-dubbing-strategies-used-in-the-egyptian-dubbed-version-of-mulan-1998" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133613.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">128</span> Gendering the Political Crisis in Hong Kong: A Cultural Analysis of Spectatorship on Marvel Superhero Movies in Hong Kong </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chi%20S.%20Lee">Chi S. Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Marvel superhero movies have obtained its unprecedented popularity around the globe. It is a dominant narrative in current scholarship on superhero studies that the political trauma of America, such as attack of September 11, and the masculinity represented in superhero genre are symbolically connected in a way of remasculinization, a standardized plot that before becoming a superhero, a man has to overcome its trauma in his life. Through this standardized plot, American audience finds their pleasure in the spectatorship of equating this plot of remasculinization with the situation of America, rewriting their traumatic memory and resolving around the economic, social, political, and psychological instability of precarity in their own context. Shifting the context to Hong Kong, where Marvel superhero movies have been reaching its dominant status in the local film market, this analysis finds its limitation in explaining the connection between text and context. This article aims to retain this connection through investigation of the Hong Kong audience’s spectatorship. It is argued that the masculinity represented in Marvel superhero movies no longer fits into the stereotypical image of superhero, but presents itself in crisis. This crisis is resolved by the technological excess of the superpower, namely, technological remasculinization. The technological remasculinization offers a sense of futurity through which it is felt that this remasculinization can be achieved in the foreseeable future instead of remaining imaginary and fictional. In this way, the political crisis of Hong Kong is gendered as masculinity in crisis which is worth being remasculinized in the future. This gendering process is a historical product as the symbolic equation between politics and masculinity has for long been encoded in the colonial history of Hong Kong. In short, Marvel superhero’s masculinity offers a sense of masculine hope for the Hong Kong audiences to overcome the political crisis they confront in reality through a postponed identification with the superhero’s masculinity. After the discussion of the Hong Kong audience’s spectatorship on Marvel superhero movies with the insights casted by spectatorship theory, above idea is generated. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=political%20crisis%20in%20Hong%20Kong" title="political crisis in Hong Kong">political crisis in Hong Kong</a>, <a href="https://publications.waset.org/abstracts/search?q=Marvel%20superhero%20movies" title=" Marvel superhero movies"> Marvel superhero movies</a>, <a href="https://publications.waset.org/abstracts/search?q=spectatorship" title=" spectatorship"> spectatorship</a>, <a href="https://publications.waset.org/abstracts/search?q=technological%20remasculinization" title=" technological remasculinization"> technological remasculinization</a> </p> <a href="https://publications.waset.org/abstracts/96181/gendering-the-political-crisis-in-hong-kong-a-cultural-analysis-of-spectatorship-on-marvel-superhero-movies-in-hong-kong" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96181.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">279</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">127</span> Using Two-Mode Network to Access the Connections of Film Festivals </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qiankun%20Zhong">Qiankun Zhong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In a global cultural context, film festival awards become authorities to define the aesthetic value of films. To study which genres and producing countries are valued by different film festivals and how those evaluations interact with each other, this research explored the interactions between the film festivals through their selection of movies and the factors that lead to the tendency of film festivals to nominate the same movies. To do this, the author employed a two-mode network on the movies that won the highest awards at five international film festivals with the highest attendance in the past ten years (the Venice Film Festival, the Cannes Film Festival, the Toronto International Film Festival, Sundance Film Festival, and the Berlin International Film Festival) and the film festivals that nominated those movies. The title, genre, producing country and language of 50 movies, and the range (regional, national or international) and organizing country or area of 129 film festivals were collected. These created networks connected by nominating the same films and awarding the same movies. The author then assessed the density and centrality of these networks to answer the question: What are the film festivals that tend to have more shared values with other festivals? Based on the Eigenvector centrality of the two-mode network, Palm Springs, Robert Festival, Toronto, Chicago, and San Sebastian are the festivals that tend to nominate commonly appreciated movies. In contrast, Black Movie Film Festival has the unique value of generally not sharing nominations with other film festivals. A homophily test was applied to access the clustering effects of film and film festivals. The result showed that movie genres (E-I index=0.55) and geographic location (E-I index=0.35) are possible indicators of film festival clustering. A blockmodel was also created to examine the structural roles of the film festivals and their meaning in real-world context. By analyzing the same blocks with film festival attributes, it was identified that film festivals either organized in the same area, with the same history, or with the same attitude on independent films would occupy the same structural roles in the network. Through the interpretation of the blocks, language was identified as an indicator that contributes to the role position of a film festival. Comparing the result of blockmodeling in the different periods, it is seen that international film festivals contrast with the Hollywood industry’s dominant value. The structural role dynamics provide evidence for a multi-value film festival network. <p class="card-text"><strong>Keywords:</strong> <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%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=media%20industry%20studies" title=" media industry studies"> media industry studies</a>, <a href="https://publications.waset.org/abstracts/search?q=network%20analysis" title=" network analysis"> network analysis</a> </p> <a href="https://publications.waset.org/abstracts/81556/using-two-mode-network-to-access-the-connections-of-film-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81556.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">316</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">126</span> The Politics of Cinema: Representation of Rising Nationalism in Indian Cinema in the Election Year of 2019</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paawani%20Tewari">Paawani Tewari</a>, <a href="https://publications.waset.org/abstracts/search?q=Oishik%20Dasgupta"> Oishik Dasgupta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cinema and politics have often intertwined in India. Movies have become a mainstream method of communication with audiences and voters subliminally and directly. Indian film industry on average produces over a thousand films in a year, and during the election year of 2019, India witnessed the release of several highly political movies. Movies such as Uri: The Surgical Strike, Accidental Prime Minister, and PM Modi, et cetera, which are the sample of this study have tried to depict an ideal character of political stalwart leaders with the plausibility to inspire and aiming to change ideological orientations of viewers and the potent voters. This study tries to understand the major links between nationalism, its representation, and its manifestation in Indian cinema and how it is instrumental in shaping the character and orientations of its citizens towards nation, nationalism, and nationhood. Our work aims to highlight how nationalistic assumptions that are swaddled in the Hindi movies released during January 2019 – May 2019 affect the political mood of the nation and, in totality, the democratic system. The authors also try to throw light on how films being a powerful tool, are now being used to shape ideas, brainwashing and swaying opinions for political mileage. Hence it becomes essential for us to explore the dynamics between the quintessential definitions of what nationalism is for a common man in India versus of what has been represented in cinema, especially during the time of the elections. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=political%20governance%20and%20political%20analysis" title="political governance and political analysis">political governance and political analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20and%20public%20administration" title=" political and public administration"> political and public administration</a>, <a href="https://publications.waset.org/abstracts/search?q=election" title=" election"> election</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20choice" title=" public choice"> public choice</a> </p> <a href="https://publications.waset.org/abstracts/145044/the-politics-of-cinema-representation-of-rising-nationalism-in-indian-cinema-in-the-election-year-of-2019" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145044.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">164</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">125</span> Nigerian Movies as a Medium for Repositioning the Nigerian Woman </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mary%20Okocha">Mary Okocha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past two decades, since it came into existence, the Nigerian film industry, also known as Nollywood, has taken a global phenomenon and is reckoned with by most Africans at home or in Diaspora. The themes portrayed in these movies are supposedly made to reflect the social, cultural, economic and religious situations prevalent in Nigeria as well as most African countries. Stories are especially effective in cultural processes because they involve audiences by entertaining them and by challenging them to make sense of the story's symbolic meaning. Using two Nigerian movies, Mammi and Arugba, this paper aims at critically examining the pressures that society places on the Nigerian female and how this same society fails to lend a helping hand in making this possible, but rather turns back to heap blames and question the virtues of the females if, on the long run, these expectations are not met inconsiderate of the circumstances that stood in their ways and how these pressures have stood against the progress of the Nigerian woman. Furthermore, female respondents will be randomly selected and their opinions will be sorted through questionnaires to see what they feel could be done to help in overcoming these challenges and how the movie industry can help in repositioning the Nigerian woman. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nollywood" title="Nollywood">Nollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigerian%20films" title=" Nigerian films"> Nigerian films</a>, <a href="https://publications.waset.org/abstracts/search?q=audiences" title=" audiences"> audiences</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigerian%20woman" title=" Nigerian woman"> Nigerian woman</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigerian%20society" title=" Nigerian society"> Nigerian society</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20respondents" title=" female respondents"> female respondents</a>, <a href="https://publications.waset.org/abstracts/search?q=repositioning%20women" title=" repositioning women"> repositioning women</a>, <a href="https://publications.waset.org/abstracts/search?q=societal%20pressures" title=" societal pressures"> societal pressures</a> </p> <a href="https://publications.waset.org/abstracts/9609/nigerian-movies-as-a-medium-for-repositioning-the-nigerian-woman" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9609.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">276</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">124</span> Combining Real Actors with Virtual Sets: The Future of Immersive Virtual Reality Fiction Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nefeli%20Dimitriadi">Nefeli Dimitriadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to present immersive cinema where real actors are filmed and integrated in Virtual Reality environments and 360 cinematic narrative, in comparison to 360 filming of real actors and sets and to fully computer graphics animation movies with 3D avatars. Objectives: This reseach aims to present immersive cinema where real actors are integrated in Virrual Reality environments and 360 cinematic narrative as the future of immersive cinema. Meghdology: A comparative analysis is conducted between real actors filming combined with Virtual Reality sets, to 360 filming of real actors and sets, and to fully computer graphics animation movies with 3D avatars, using as case study Virtual Reality movie Neurosynapses and others. Contribution: This reseach contributes in defining the best practices leading to impactful Immersive cinematic narratives. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title="virtual reality">virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=360%20movies" title=" 360 movies"> 360 movies</a>, <a href="https://publications.waset.org/abstracts/search?q=immersive%20cinema" title=" immersive cinema"> immersive cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=directing%20for%20virtual%20reality" title=" directing for virtual reality"> directing for virtual reality</a> </p> <a href="https://publications.waset.org/abstracts/156081/combining-real-actors-with-virtual-sets-the-future-of-immersive-virtual-reality-fiction-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156081.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">120</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">123</span> Music and Movies: Story about a Suicide</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Karen%20V.%20Lee">Karen V. Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The background and significance of this study involves an autoethnographic story that shares research results about how music and movies influence the suicide of a new music teacher working in a public school. The performative narrative duet demonstrates how music and movies highlight social issues when the new teacher cannot cope with allegations surrounding professional issues. Both university advisors are drawn into deep reflection about the wider political issues that arise around the transition from the student-teacher internship process to the teaching career with the stark reality of teaching profession in the 21st century. This performance of story and music creates a transformative composition of reading, hearing, feeling while provoking visceral and emotional responses. Sometimes, young teachers are forced to take a leave of absence to reflect upon their practice with adolescents. In this extreme circumstance, the outcome was suicide. The qualitative research method involves an autoethnographic story as the author is methodologist, theoretician, and participant. Sub-themes surround film, music education and how movie resources have influenced his tragic misguided decision regarding social, emotional, physical, spiritual, and practical strategies to cope with the allegations. Major findings from this story demonstrate how lived experiences can resonate the importance of providing more education and resources to new teachers. The research provides substantive contribution, aesthetic merit, as the impact of movies and music influences the suicide. The reflexive account of storied sensory experiences situated in culture settings becomes a way to describe and seek verisimilitude by evoking lifelike and believable feelings from others. Sadly, the circumstance surrounding the story involving the allegations of a teacher sexually harassing a student is not uncommon in society. However, the young teacher never received counseling to cope with the allegations but instead was influenced by music and movies and opted for suicide. In conclusion, stories share the implications for film and media studies as music and movies can encourage a moral mission to empower individuals with despair and emotional impairment to embrace professional support to assist with emotional and legal challenges encountered in the field of teaching. It is from media studies that education and awareness surrounding suicide can disseminate information about the tragic outcome. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=suicide" title=" suicide"> suicide</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=autoethnography" title=" autoethnography"> autoethnography</a> </p> <a href="https://publications.waset.org/abstracts/43712/music-and-movies-story-about-a-suicide" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43712.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">230</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">122</span> Representation of How Patriarchy Affects Mental Health in Qala and Black Swan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mokshida%20Bhat">Mokshida Bhat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines the representation of patriarchy in the movies 'Qala' and 'Black Swan' and how it affects the mental health of women. Both movies portray female characters who are subject to patriarchal attitudes and structures that limit their choices and opportunities and contribute to negative mental health outcomes. In 'Qala' the central character Qala confronts the patriarchal attitudes of her family and community, which contribute to feelings of frustration and despair. In 'Black Swan' the main character Nina is subject to the demands and expectations of a patriarchal system that leads to anxiety, paranoia, and disconnection from her own body and emotions. Both movies highlight the harmful impact of patriarchal attitudes on women's mental health, including feelings of disempowerment, objectification, and self-doubt. The paper suggests that these negative outcomes can be addressed through a rejection of patriarchal norms and an assertion of one's own agency and identity. Overall, this paper demonstrates the importance of recognizing the role of patriarchy in contributing to mental health struggles for women and the need for more diverse and empowering representations of women in media. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=patriarchy" title="patriarchy">patriarchy</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health" title=" mental health"> mental health</a>, <a href="https://publications.waset.org/abstracts/search?q=depression" title=" depression"> depression</a>, <a href="https://publications.waset.org/abstracts/search?q=PTSD" title=" PTSD"> PTSD</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health%20in%20Indian%20cinema" title=" mental health in Indian cinema"> mental health in Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=patriarchy%20in%20Indian%20cinema" title=" patriarchy in Indian cinema"> patriarchy in Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism%20and%20patriarchy" title=" feminism and patriarchy"> feminism and patriarchy</a>, <a href="https://publications.waset.org/abstracts/search?q=sexism" title=" sexism"> sexism</a> </p> <a href="https://publications.waset.org/abstracts/181947/representation-of-how-patriarchy-affects-mental-health-in-qala-and-black-swan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/181947.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">55</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">121</span> Movie and Theater Marketing Using the Potentials of Social Networks</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seyed%20Reza%20Naghibulsadat">Seyed Reza Naghibulsadat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The nature of communication includes various forms of media productions, which include film and theater. In the current situation, since social networks have emerged, they have brought their own communication capabilities and have features that show speed, public access, lack of media organization and the production of extensive content, and the development of critical thinking; Also, they contain capabilities to develop access to all kinds of media productions, including movies and theater shows; Of course, this works differently in different conditions and communities. In terms of the scale of exploitation, the film has a more general audience, and the theater has a special audience. The film industry is more developed based on more modern technologies, but the theater, based on the older ways of communication, contains more intimate and emotional aspects. ; But in general, the main focus is the development of access to movies and theater shows, which is emphasized by those involved in this field due to the capabilities of social networks. In this research, we will look at these 2 areas and the relevant components for both areas through social networks and also the common points of both types of media production. The main goal of this research is to know the strengths and weaknesses of using social networks for the marketing of movies and theater shows and, at the same time are, also considered the opportunities and threats of this field. The attractions of these two types of media production, with the emergence of social networks, and the ability to change positions, can provide the opportunity to become a media with greater exploitation and higher profitability; But the main consideration is the opinions about these capabilities and the ability to use them for film and theater marketing. The main question of the research is, what are the marketing components for movies and theaters using social media capabilities? What are its strengths and weaknesses? And what opportunities and threats are facing this market? This research has been done with two methods SWOT and meta-analysis. Non-probability sampling has been used with purposeful technique. The results show that a recent approach is an approach based on eliminating threats and weaknesses and emphasizing strengths, and exploiting opportunities in the direction of developing film and theater marketing based on the capabilities of social networks within the framework of local cultural values and presenting achievements on an international scale or It is universal. This introduction leads to the introduction of authentic Iranian culture and foreign enthusiasts in the framework of movies and theater art. Therefore, for this issue, the model for using the capabilities of social networks for movie or theater marketing, according to the results obtained from Respondents, is a model based on SO strategies and, in other words, offensive strategies so that it can take advantage of the internal strengths and made maximum use of foreign situations and opportunities to develop the use of movies and theater performances. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=marketing" title="marketing">marketing</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=theatrical%20show" title=" theatrical show"> theatrical show</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20network%20potentials" title=" social network potentials"> social network potentials</a> </p> <a href="https://publications.waset.org/abstracts/161909/movie-and-theater-marketing-using-the-potentials-of-social-networks" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161909.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">76</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">120</span> Bed Scenes Allurement as Entertainment and Selling Point in Nigeria's Nollywood Movie Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ojinime%20E.%20Ojiakor">Ojinime E. Ojiakor</a>, <a href="https://publications.waset.org/abstracts/search?q=Allen%20N.%20Adum"> Allen N. Adum</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We report on bed scenes allurement as entertainment and selling point in Nigeria’s Nollywood movie industry. In recent times, there has been an increase in the portrayal of bed scenes in Nollywood movies. Before now, Nigerian film producers have been very conservative when it comes to showing sex and nudity. This appears to have changed in line with global trends. Movie industries all over the world appear a haven for delectable women who glamorize our screens, not only with their beauty but also their acting skills. At Hollywood, Bollywood, Ghollywood and the like, pretty actresses with sensuous endowments engage in bed scenes which allure the minds of viewers. The idea that, a ravishing beauty on cast is as good as a box office hit apparently drives Nigerian film producers to incorporate bed scenes in their movies. In this era of sex crusade where what sells is sex and maybe a little bit of violence, there is the suggestion that producers believe that if the talent of an actress doesn’t do the trick, the sexiness she exudes is bound to get attention. Against this backdrop, our study examined bed scenes depiction by Nollywood films, in an attempt to establish if their allurement influences the choice of movie and purchase decisions of target markets. We assessed Nollywood films and viewer preference using the mixed method approach. Our findings reveal that bed scenes, as portrayed in Nigerian movies are a significant determinant of which films to watch and which films to purchase among the respondents studied. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=allurement" title="allurement">allurement</a>, <a href="https://publications.waset.org/abstracts/search?q=bed%20scenes" title=" bed scenes"> bed scenes</a>, <a href="https://publications.waset.org/abstracts/search?q=nollywood" title=" nollywood"> nollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=selling%20point" title=" selling point "> selling point </a> </p> <a href="https://publications.waset.org/abstracts/23808/bed-scenes-allurement-as-entertainment-and-selling-point-in-nigerias-nollywood-movie-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23808.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">273</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">119</span> “Everything, Everywhere, All at Once” Hollywoodization and Lack of Authenticity in Today’s Mainstream Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haniyeh%20Parhizkar">Haniyeh Parhizkar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> When Sarris came up with the "auteur theory" in 1962, he emphasized that the utmost premise of auteur theory is the inner meanings and concepts of a film and that a film is purely an art form. Today's mainstream movies are conceptually closer to what the Frankfurt School scholars regarded as "reproduced" and "mass culture" years ago. Hollywood goes on to be a huge movie-making machine that leads the dominant paradigms of films throughout the world and cinema is far from art. Although there are still movies, directors, and audiences who favor art cinema over Hollywood and mainstream movies, it's an almost undeniable fact that, for the most part, people's perception of movies is widely influenced by their American depiction and Hollywood's legacy of mass culture. With the uprising of Hollywood studios as the forerunners of the movie industry and cinema being largely dependent on economics rather than artistic values, this distinctive role of cinema has diminished and is replaced with a global standard. The Blockbuster 2022 film, 'Everything, Everywhere, All at Once' is now the most-awarded movie of all time, winning seven Oscars at the 95th Academy Awards. Despite its main cast being Asian, the movie is produced by American incorporation and is heavily influenced by Hollywood's dominant themes of superheroes, fantasy, action, and adventure. The New Yorker film critic, Richard Brody, called the movie "a pitch for a Marvel" and critiqued the film for being "universalized" and "empty of history and culture". Other critics of Variety pinpointed the movie's similarities to Marvel, particularly in their storylines of multi-universe which manifest traces of American legacy. As argued by these critics, 'Everything, Everywhere, All at Once' might appear as a unique and authentic film at first glance, but it can be argued that it is yet another version of a Marvel movie. While the movie's universal acclaim was regarded as recognition and an acknowledgment of its Asian cast, the issue that arises here is when the Hollywood influences and American themes are so robust in the film, is the movie industry honoring another culture or is it yet another celebration of Hollywood's dominant paradigm. This essay will employ a critical approach to Hollywood's dominance and mass-produced culture, which has deprived authenticity of non-American movies and is constantly reproducing the same formula of success. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hollywoodization" title="hollywoodization">hollywoodization</a>, <a href="https://publications.waset.org/abstracts/search?q=universalization" title=" universalization"> universalization</a>, <a href="https://publications.waset.org/abstracts/search?q=blockbuster" title=" blockbuster"> blockbuster</a>, <a href="https://publications.waset.org/abstracts/search?q=dominant%20paradigm" title=" dominant paradigm"> dominant paradigm</a>, <a href="https://publications.waset.org/abstracts/search?q=marvel" title=" marvel"> marvel</a>, <a href="https://publications.waset.org/abstracts/search?q=authenticity" title=" authenticity"> authenticity</a>, <a href="https://publications.waset.org/abstracts/search?q=diversity" title=" diversity"> diversity</a> </p> <a href="https://publications.waset.org/abstracts/165705/everything-everywhere-all-at-once-hollywoodization-and-lack-of-authenticity-in-todays-mainstream-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165705.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">88</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">118</span> Investigating the Use of Social Media Channels When Capitalising on Ireland’s Appearance in US TV and Movies: A Digital Marketing Campaign</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Colm%20Barcoe">Colm Barcoe</a>, <a href="https://publications.waset.org/abstracts/search?q=Garvan%20Whelan"> Garvan Whelan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to investigate the impact that US TV and movies have had on Irish tourism. This study examines how a destination marketing organisation (DMO) can use social media channels to capitalise upon the opportunities created by film tourism as it pertains to North American TV and movie productions. The findings are based on a combination of two qualitative methods, in-depth interviews with 20 industry professionals and a Netnographic analysis of social media activity between Tourism Ireland and the North American audience on Facebook and Twitter. The qualitative data were analysed in order to provide insights into the effectiveness of using North American pop culture as part of a digital marketing strategy when creating awareness of Ireland as a brand in the US and Canada. This study addresses a gap in the literature in relation to the use of social media when attracting the North American holidaymaker to Ireland. The findings from this investigation will extend an under-researched body of literature pertaining to Ireland as a destination and the successful digital marketing campaigns that have achieved exponential growth in this sector over the past five years. The empirical evidence presented also illustrates how the innovative use of social media has assisted the DMO to engage with the North American holidaymaker as part of an effective digital marketing strategy. This paper will be of value to academics and industry practitioners interested in film-induced tourism and indeed tourism in general, as well as students. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20marketing" title="digital marketing">digital marketing</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism" title=" tourism"> tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=strategies" title=" strategies"> strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=movies" title=" movies"> movies</a>, <a href="https://publications.waset.org/abstracts/search?q=US%20TV" title=" US TV"> US TV</a> </p> <a href="https://publications.waset.org/abstracts/89187/investigating-the-use-of-social-media-channels-when-capitalising-on-irelands-appearance-in-us-tv-and-movies-a-digital-marketing-campaign" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89187.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">255</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">117</span> Brand Placement Practices in the Movies and Their Importance on Brand Recall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elif%20Esiyok">Elif Esiyok</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Brand placement practices have become a popular advertising strategy, which is widely used in movies. Whether these brands are remembered by the audience after the film, or if they affect the purchasing preferences of the consumers has become one of the most important topics in the field of advertising. From this point, in this study, the "Devil Wears Prada" movie which includes high amount of brand placements is chosen. The movie watched to the undergraduate students in Turkey to measure the impact of brand placements on the attitudes of the consumers relating with a specific brand. In total 100 students were the subjects of this study. The participants were selected through using a simple random sampling method. The findings revealed that there is a significant difference between male and females in terms of brand recall. Female students were remembered the fashion brands more than the males, whereas males generally recalled the automotive brands and restaurant names. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brand%20placement" title="brand placement">brand placement</a>, <a href="https://publications.waset.org/abstracts/search?q=brand%20recall" title=" brand recall"> brand recall</a>, <a href="https://publications.waset.org/abstracts/search?q=advertising" title=" advertising"> advertising</a>, <a href="https://publications.waset.org/abstracts/search?q=media" title=" media"> media</a> </p> <a href="https://publications.waset.org/abstracts/91904/brand-placement-practices-in-the-movies-and-their-importance-on-brand-recall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91904.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">165</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">116</span> Principles to Design Urbanism in Cinema; An Aesthetic Study on Identity and Representation of a City in a Movie</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dorsa%20Moayedi">Dorsa Moayedi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ‘The Cities’ and Cinema have a history going as far back as silent films; however, the standards of picturing a city in a film are somewhat vague. ‘Genius Loci’ of a city can be easily described with parameters that architects have detected; nevertheless, the genius loci of an ‘urban movie’ is untouched. Cities have been among the provocative matters that pushed filmmakers to ponder upon them and to picture them along with their urban identity thoroughly in their artworks, though the impacts of the urban life on the plot and characters is neglected, and so a city in a movie is usually restricted to ‘the place where the story happens’. Cities and urban life are among those that are in constant change and ongoing expansion; therefore, they are always fresh and ready to challenge people with their existence. Thus, the relationship between the city and cinema is metamorphic, though it could be defined and explored. The dominant research on the idea of urbanism has been conducted by outstanding scholars of architecture, like Christian Norberg-Schulz, and the studies on Cinema have been done by theorists of cinema, like Christian Metz, who have mastered defining their own realm; still, the idea to mingle the domains to reach a unified theory which could be applied to ‘urban movies’ is barely worked on. In this research, we have sought mutual grounds to discuss ‘urbanism in cinema,’ the grounds that cinema could benefit from and get to a more accurate audio-visual representation of a city, in accordance with the ideas of Christopher Alexander and the term he coined ‘The Timeless Way of Building.’ We concentrate on movies that are dependent on urban life, mainly those that possess the names of cities, like ‘Nashville (1975), Manhattan (1979), Fargo (1996), Midnight in Paris (2011) or Roma (2018), according to the ideas of urban design and narratives of cinema. Contrary to what has often been assumed, cinema and architecture could be defined in line with similar parameters, and architectural terms could be applied to the research done on movies. Our findings indicate that the theories of Christopher Alexander can best fit the paradigm to study an ‘Urban Movie’, definitions of a timeless building, elaborate on the characteristics of a design that could be applied to definitions of an urban movie, and set a prototype for further filmmaking regarding the urban life. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=city" title="city">city</a>, <a href="https://publications.waset.org/abstracts/search?q=urbanism" title=" urbanism"> urbanism</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20movies" title=" urban movies"> urban movies</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a> </p> <a href="https://publications.waset.org/abstracts/182855/principles-to-design-urbanism-in-cinema-an-aesthetic-study-on-identity-and-representation-of-a-city-in-a-movie" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182855.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">65</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">115</span> Residential Architecture and Its Representation in Movies: Bangkok's Spatial Research in the Study of Thai Cinematography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Janis%20Matvejs">Janis Matvejs</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual representation of a city creates unique perspectives that allow to interpret the urban environment and enable to understand a space that is culturally created and territorially organized. Residential complexes are an essential part of cities and cinema is a specific representation form of these areas. There has been very little research done on exploring how these areas are depicted in the Thai movies. The aim of this research is to interpret the discourse of residential areas of Bangkok throughout the 20th and 21st centuries and to examine essential changes in the residential structure. Specific cinematic formal techniques in relation to the urban image were used. The movie review results were compared with changes in Bangkok’s residential development. Movie analysis displayed that residential areas are frequently used in Thai cinematography and they make up an integral part of the urban visual perception. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bangkok" title="Bangkok">Bangkok</a>, <a href="https://publications.waset.org/abstracts/search?q=cinema" title=" cinema"> cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=residential%20area" title=" residential area"> residential area</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20perception" title=" visual perception"> visual perception</a> </p> <a href="https://publications.waset.org/abstracts/81904/residential-architecture-and-its-representation-in-movies-bangkoks-spatial-research-in-the-study-of-thai-cinematography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81904.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">194</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cartoon%20movies&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cartoon%20movies&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cartoon%20movies&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cartoon%20movies&page=5">5</a></li> <li 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