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transnational cinema</title> <meta name="description" content="Search results for: transnational cinema"> <meta name="keywords" content="transnational cinema"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="transnational cinema"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 286</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: transnational cinema</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">286</span> Transnationalization Strategies of Danish Cinema: Susanne Bier, Lone Scherfig</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebru%20Thwaites%20Diken">Ebru Thwaites Diken</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=danish%20cinema" title="danish cinema">danish cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20cinema" title=" transnational cinema"> transnational cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=susanne%20bier" title=" susanne bier"> susanne bier</a>, <a href="https://publications.waset.org/abstracts/search?q=lone%20scherfig" title=" lone scherfig"> lone scherfig</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20cinema" title=" national cinema"> national cinema</a> </p> <a href="https://publications.waset.org/abstracts/168234/transnationalization-strategies-of-danish-cinema-susanne-bier-lone-scherfig" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168234.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">69</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">285</span> Susanne Bier, Lone Scherfig: Transnationalization Strategies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebru%20Thwaites%20Diken">Ebru Thwaites Diken</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=transnational%20cinema" title="transnational cinema">transnational cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=danish%20cinema" title=" danish cinema"> danish cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=susanne%20bier" title=" susanne bier"> susanne bier</a>, <a href="https://publications.waset.org/abstracts/search?q=lone%20scherfig" title=" lone scherfig"> lone scherfig</a> </p> <a href="https://publications.waset.org/abstracts/178034/susanne-bier-lone-scherfig-transnationalization-strategies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/178034.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">74</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">284</span> Leaving to Make a Living: Differences on the Subjective Well-Being of Children in Transnational Families and in Families Living Together</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rachelle%20Angeli%20Maranon">Rachelle Angeli Maranon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research explored the relationships of a child’s family condition, sex and subjective well-being (SWB) to gain some understanding of the experiences of both transnational and non-transnational families. A descriptive-correlational design was used to study the variables. Participants included 52 male and female children from Iloilo and Kabankalan cities, representing the family conditions in this study. Data were gathered using a semi-structured interview guide. Responses were analyzed using Mann-Whitney U Test. The results showed that the SWB of non-transnational children was significantly higher compared to their transnational counterparts (U = 134, p = .00). Also, analysis between females and males indicated a significant difference only on some aspects (U = 318, p = .71). Some recommendations were suggested to better understand the plight of the left-behind children. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=left-behind%20children" title="left-behind children">left-behind children</a>, <a href="https://publications.waset.org/abstracts/search?q=mothers" title=" mothers"> mothers</a>, <a href="https://publications.waset.org/abstracts/search?q=subjective%20well-being" title=" subjective well-being"> subjective well-being</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20families" title=" transnational families"> transnational families</a> </p> <a href="https://publications.waset.org/abstracts/79442/leaving-to-make-a-living-differences-on-the-subjective-well-being-of-children-in-transnational-families-and-in-families-living-together" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79442.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">452</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">283</span> Society and Cinema in Iran </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Seyedeh%20Rozhano%20Azimi%20Hashemi">Seyedeh Rozhano Azimi Hashemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There is no doubt that ‘Art’ is a social phenomena and cinema is the most social kind of art. Hence, it’s clear that we can analyze the relation’s of cinema and art from different aspects. In this paper sociological cinema will be investigated which, is a subdivision of sociological art. This term will be discussed by two main approaches. One of these approaches is focused on the effects of cinema on the society, which is known as “Effects Theory” and the second one, which is dealing with the reflection of social issues in cinema is called ” Reflection Theory”. "Reflect theory" approach, unlike "Effects theory" is considering movies as documents, in which social life is reflected, and by analyzing them, the changes and tendencies of a society are understood. Criticizing these approaches to cinema and society doesn’t mean that they are not real. Conversely, it proves the fact that for better understanding of cinema and society’s relation, more complicated models are required, which should consider two aspects. First, they should be bilinear and they should provide a dynamic and active relation between cinema and society, as for the current concept social life and cinema have bi-linear effects on each other, and that’s how they fit in a dialectic and dynamic process. Second, it should pay attention to the role of inductor elements such as small social institutions, marketing, advertisements, cultural pattern, art’s genres and popular cinema in society. In the current study, image of middle class in cinema of Iran and changing the role of women in cinema and society which were two bold issue that cinema and society faced since 1979 revolution till 80s are analyzed. Films as an artwork on one hand, are reflections of social changes and with their effects on the society on the other hand, are trying to speed up the trends of these changes. Cinema by the illustration of changes in ideologies and approaches in exaggerated ways and through it’s normalizing functions, is preparing the audiences and public opinions for the acceptance of these changes. Consequently, audience takes effect from this process, which is a bi-linear and interactive process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranian%20Cinema" title="Iranian Cinema">Iranian Cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Cinema%20and%20Society" title=" Cinema and Society"> Cinema and Society</a>, <a href="https://publications.waset.org/abstracts/search?q=Middle%20Class" title=" Middle Class"> Middle Class</a>, <a href="https://publications.waset.org/abstracts/search?q=Woman%E2%80%99s%20Role" title=" Woman’s Role "> Woman’s Role </a> </p> <a href="https://publications.waset.org/abstracts/26021/society-and-cinema-in-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26021.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">340</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">282</span> Political Cinema: Rewriting The Malaysian Political History Through Documentary Films </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raja%20Rodziah%20Binti%20Raja%20Zainal%20Hassan">Raja Rodziah Binti Raja Zainal Hassan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The development of Malaysian political cinema is rapidly taking shape in the local film industry. The paper focuses on the production of independent political documentary by two Malaysian filmmakers, Amir Muhammad and Fahmi Reza. Revolutionary cinema can be understood by utilizing the Third Cinema Theory in order to analyse the meaning and its impact on the audience. The issue surrounding the political cinema in Malaysia is the question of national identity. The implementation of racial or ethnic based politics has resulted in hostility within Malaysia’s multiracial society. Amir Muhammad and Fahmi Reza revisit the Malaysian political history through their films in order to understand the reasons behind the hostility and conflict. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Political%20cinema" title="Political cinema">Political cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=third%20cinema%20theory" title=" third cinema theory"> third cinema theory</a>, <a href="https://publications.waset.org/abstracts/search?q=revolutionary%20cinema" title=" revolutionary cinema"> revolutionary cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a>, <a href="https://publications.waset.org/abstracts/search?q=racial%20or%20ethnic%20politics" title=" racial or ethnic politics"> racial or ethnic politics</a> </p> <a href="https://publications.waset.org/abstracts/2388/political-cinema-rewriting-the-malaysian-political-history-through-documentary-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2388.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">433</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">281</span> Exploring the Cross-Cultural Practice of Transnational Community in Taiwan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ya-Hsuan%20Wang">Ya-Hsuan Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This project of intercultural education aimed to explore pluricultural people’s interpretation and evaluation of the transnational community in Taiwan. Based on transnationalism and transculturalism, this study concerns the human right issues for immigrants and pluricultural people. Research participants as immigrants in Taiwan were asked about their typical thinking styles in the transnational community, their cultural integration in terms of transnational behaviors, and their collective memory of the transnational community. Interview questions included what key factors were involved in their identity negotiation, what roles the transnational community and collective memory would be for their identity negotiation and what were the positive or negative aspects impacting cross-border identity. Based on the experiences of pluricultural people and transnational communities, this project expected to enhance the depth and width of developing transcultural knowledge in textbook reform on History in K-12 schools. It is to transform cross-border identity into knowledge embedded with local culture in response to globalization and localization. The purpose of this paper is to portrait the cross-cultural practice of transnational community for Taiwan’s immigrants. It is to report their external socio-cultural expectation of ethnic economics, to understand their internal life course of national identity, and to clarify transnational community in relation to their cross-border identity. In conclusion, the cross-cultural practice of transnational community combined the external contexts such as ethnic economic interaction among transnational communities, social report and ethnic industry, and the internal contexts such as ethnic identity, language use, and collective memory in ethnic history. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cross-cultural%20practice" title="cross-cultural practice">cross-cultural practice</a>, <a href="https://publications.waset.org/abstracts/search?q=immigrants" title=" immigrants"> immigrants</a>, <a href="https://publications.waset.org/abstracts/search?q=pluricultural%20people" title=" pluricultural people"> pluricultural people</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20community" title=" transnational community"> transnational community</a> </p> <a href="https://publications.waset.org/abstracts/89350/exploring-the-cross-cultural-practice-of-transnational-community-in-taiwan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89350.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">196</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">280</span> Infernal Affairs (Hong Kong) versus Double Face (Japan): Remaking and Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Roman%20Kusaiko">Roman Kusaiko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For decades, remaking was one of the film industry’s main practices but has become vivid in recent years. The latest geopolitical developments, though, are becoming a new challenge for filmmakers regarding cultural landscapes and contextual differences. Deglobalization may also affect transnational remaking practices. Thus, these upcoming challenges can be addressed through the analysis of contemporary academic thought, primarily from adaptation and film studies and their understanding of the issues of transmediality and how it affects film remaking. However, the analysis would be insufficient without conducting case studies. This paper is part of broader research about transnational remaking practices and their cultural and contextual specifics. This paper aims to understand whether shifting medium affects remaking as a critical category and present case studies of the popular Hong Kong motion picture Infernal Affairs and its transition into the Japanese remake Double Face. Consequently, the analysis of their contextual distinctions will lead to the correct categorization of the transnational remakes allowing scholars and filmmakers to better understand the existing remaking practices and whether they affect the final result. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=context" title=" context"> context</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=films" title=" films"> films</a>, <a href="https://publications.waset.org/abstracts/search?q=remaking" title=" remaking"> remaking</a>, <a href="https://publications.waset.org/abstracts/search?q=transmediality" title=" transmediality"> transmediality</a> </p> <a href="https://publications.waset.org/abstracts/166398/infernal-affairs-hong-kong-versus-double-face-japan-remaking-and-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166398.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">97</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">279</span> Postmodern Navy to Transnational Adaptive Navy: Positive Peace with Borderless Institutional Network</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Serkan%20Tezgel">Serkan Tezgel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Effectively managing threats and power that transcend national boundaries requires a reformulation from the traditional post-modern navy to an adaptive and institutional transnational navy. By analyzing existing soft power concept, post-modern navy, and sea power, this study proposes the transnational navy, founded on the triangle of main attributes of transnational companies, 'Global Competitiveness, Local Responsiveness, Worldwide Learning and Innovation Sharing', a new model which will lead to a positive peace with an institutional network. This transnational model necessitates 'Transnational Navies' to help establish peace with collective and transnational understanding during a transition period 'Reactive Postmodern Navy' has been experiencing. In this regard, it is fairly claimed that a new paradigm shift will revolve around sea power to establish good order at sea with collective and collaborative initiatives and bound to breed new theories and ideas in the forthcoming years. However, there are obstacles to overcome. Postmodern navies, currently shaped by 'Collective Maritime Security' and 'Collective Defense' concepts, can not abandon reactive applications and acts. States deploying postmodern navies to realize their policies on international platforms and seapower structures shaped by the axis of countries’ absolute interests resulted in multipolar alliances and coalitions, but the establishment of the peace. These obstacles can be categorized into three tiers in establishing a unique transnational model navy: Strategic, Organizational and Management challenges. To overcome these obstacles and challenges, postmodern navies should transform into cooperative, collective and independent soft transnational navies with the transnational mentality, global commons, and institutional network. Such an adaptive institution can help the world navigate to a positive peace. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=postmodern%20navy" title="postmodern navy">postmodern navy</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20navy" title=" transnational navy"> transnational navy</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20mentality" title=" transnational mentality"> transnational mentality</a>, <a href="https://publications.waset.org/abstracts/search?q=institutional%20network" title=" institutional network"> institutional network</a> </p> <a href="https://publications.waset.org/abstracts/7914/postmodern-navy-to-transnational-adaptive-navy-positive-peace-with-borderless-institutional-network" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7914.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">519</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">278</span> Baseline Study on Human Trafficking Crimes: A Case Study of Mapping Human Trafficking Crimes in East Java Province, Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ni%20Komang%20Desy%20Arya%20Pinatih">Ni Komang Desy Arya Pinatih</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Transnational crime is a crime with 'unique' feature because the activities benefit the lack of state monitoring on the borders so dealing with it cannot be based on conventional engagement but also need joint operation with other countries. On the other hand with the flow of globalization and the growth of information technology and transportation, states become more vulnerable to transnational crime threats especially human trafficking. This paper would examine transnational crime activities, especially human trafficking in Indonesia. With the case study on the mapping of human trafficking crime in East Java province, Indonesia, this paper would try to analyze how the difference in human trafficking crime trends at the national and sub-national levels. The findings of this research were first, there is difference in human trafficking crime trends whereas at the national level the trend is rising, while at sub-national (province) level the trend is declining. Second, regarding the decline of human trafficking number, it’s interesting to see how the method to decrease human trafficking crime in East Jawa Province in order to reduce transnational crime accounts in the region. These things are hopefully becoming a model for transnational crimes engagement in other regions to reduce human trafficking numbers as much as possible. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=transnational%20crime" title="transnational crime">transnational crime</a>, <a href="https://publications.waset.org/abstracts/search?q=human%20trafficking" title=" human trafficking"> human trafficking</a>, <a href="https://publications.waset.org/abstracts/search?q=southeast%20Asia" title=" southeast Asia"> southeast Asia</a>, <a href="https://publications.waset.org/abstracts/search?q=anticipation%20model%20on%20transnational%20crimes" title=" anticipation model on transnational crimes"> anticipation model on transnational crimes</a> </p> <a href="https://publications.waset.org/abstracts/50189/baseline-study-on-human-trafficking-crimes-a-case-study-of-mapping-human-trafficking-crimes-in-east-java-province-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50189.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">304</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">277</span> Exploring the Experiences of Transnational TESOL Professionals about Their Writing Assessment Practices: A Critical Ethnography in the Saudi EFL Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdullah%20Alshakhi">Abdullah Alshakhi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to explore the assessment practices of transnational western teachers in Saudi EFL writing classrooms. The study adopts a critical ethnographic approach to understand the views and the experiences of four transnational TESOL professionals about how they navigate and negotiate their writing assessment practices in the Saudi EFL context. The qualitative data were collected through classroom observations and video recordings of the classroom teaching, which were followed by semi-structured interviews with the four TESOL teachers from Australia, England, USA, and Ireland. The data were analyzed from three perspectives of these transnational TESOL teachers in the Saudi EFL context: as a transnational teacher in monolingual context, as a transitional teacher abides by the prescribed curriculum and assessment instructions, and as a transnational teacher’s vision for monolingual students. The results of the study revealed that owing to the transnational teachers’ lack of understanding of the Saudi monolingual culture, bureaucratic structures, and top-down assessment policies in the institute where they work, their teaching and assessment of writing and other language skills are negatively affected and consequently had to be modified. Also, the Saudi learners’ lack of interest and their lower level of English proficiency pose serious challenges to those transnational teachers’ writing assessment practices. More often, the teachers find the prescribed writing curriculum and assessment tools ineffective in the Saudi EFL context. Because of these experiences, the transnational teachers in this study have exhibited their awareness of their monolingual/monoculture background, Saudi’s cultural and religious values, and institutional structures, which have helped them customize or supplement the writing assessment practices accordingly. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=critical%20ethnography" title="critical ethnography">critical ethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=Saudi%20EFL%20context" title=" Saudi EFL context"> Saudi EFL context</a>, <a href="https://publications.waset.org/abstracts/search?q=TESOL%20professionals" title=" TESOL professionals"> TESOL professionals</a>, <a href="https://publications.waset.org/abstracts/search?q=transnationalism" title=" transnationalism"> transnationalism</a>, <a href="https://publications.waset.org/abstracts/search?q=writing%20assessment" title=" writing assessment"> writing assessment</a> </p> <a href="https://publications.waset.org/abstracts/109767/exploring-the-experiences-of-transnational-tesol-professionals-about-their-writing-assessment-practices-a-critical-ethnography-in-the-saudi-efl-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109767.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">111</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">276</span> Representation of the Disabled in Turkish Cinema from a Dramatological Frame</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Esra%20Ince">Esra Ince</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As an important means of cultural transmission, cinema is an important resource for seeing cultural and social definitions, meanings and descriptions of people with disabilities. This study is aimed to reveal how disabled people are represented in the films selected from Turkish cinema. For this purpose, the films were examined with qualitative content analysis. The Goffmanian perspective was adopted in the study. The relationship between disability and stigma has been tried to be explained. How the disabled, which Goffman defines as a stigmatized group due to their differences, are represented in the cinema has been examined within the dramaturgy model. In the research, it was seen that the disabled characters took place in similar representations in different regions of dramaturgy. It has been seen that the films reinforce the negative discourse and behaviors by reflecting the prejudices, attitudes and behaviors in the society and continue to stigmatize disability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability" title="disability">disability</a>, <a href="https://publications.waset.org/abstracts/search?q=Turkish%20cinema" title=" Turkish cinema"> Turkish cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Goffman" title=" Goffman"> Goffman</a>, <a href="https://publications.waset.org/abstracts/search?q=stigma" title=" stigma"> stigma</a> </p> <a href="https://publications.waset.org/abstracts/170316/representation-of-the-disabled-in-turkish-cinema-from-a-dramatological-frame" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170316.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">275</span> Relationship between Cinema and Culture: Reel and Real life in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prachi%20Chavda">Prachi Chavda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world, as of today, is smaller than it was for those who lived few decades ago. Internet, media and telecommunications have impacted the world like never before. Culture is the pillar upon which a society mushrooms. A culture develops with human creativity over the years and also by the exchange and intermixing of ideas and way of life across different civilizations and we can say that one of the influencing medium of exchange and intermixing of these ideas is cinema. Cinema has been the wonderful as well as important medium of communication since it has been emerged. Change is the thumb rule of life and so have been Indian cinema. As society has evolved from time to time so has the stories of Indian Cinema and its characters, hence it directly effects to the Indian culture as cinema has been very strong mediator for information exchange. The paper tries to discuss deeply how Indian cinema (reel life) and Indian culture (real life) has been influencing each other that results into a constant modification in both. Moreover, the research tries to deal with the issue with some examples that as a outcome how movies impact the Indian culture positively and negatively on culture. Therefore, it spreads the wave of change in cultural settings of society. The paper also tries to light the psychology of youth of India. Today, children and youth greatly admire the ostentatious materialistic display of outfits and style of the actors in the movies. Also, the movies bearing romanticism and showcasing disputatious issues like pre-marital sex, live-in relationship, homo-sexuality etc. though without highlighting them extensively have indeed inspired the commoners. Pros and cons always exist. Such revelation of issues certainly give a spark in the minds of those who are in their formative years and the effect of which is seen with the passage of time Thus, we can say that emergence of cinema as a strong tool of social change as well as culture as a triggering factor for transformation in cinema. As, a finding we can say that culture and cinema of India are influencing factors for each other. Cinema and culture are two sides of a coin, where both are responsible for evolution of each other. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=influence" title=" influence"> influence</a>, <a href="https://publications.waset.org/abstracts/search?q=transformation" title=" transformation"> transformation</a> </p> <a href="https://publications.waset.org/abstracts/36964/relationship-between-cinema-and-culture-reel-and-real-life-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36964.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">396</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">274</span> Radical Islam and Transnational Security: West Africa and the Asia Pacific in View</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olumide%20A.%20Fafore">Olumide A. Fafore</a>, <a href="https://publications.waset.org/abstracts/search?q=Khondlo%20Mtshali"> Khondlo Mtshali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The beginning of the 21st century saw the emergence of new and global threats to national and transnational security in West Africa and the Asia Pacific regions as a result of the spread of jihadist terrorism across borders, a manifestation of the rise of radical Islam. Extremist and armed Islamic movements influenced by Salafism, the Jihad in Afghanistan and the Muslim Brotherhood are prevalent in Northern Nigeria, Niger, Cameroon, Mali, Chad, Pakistan, Afghanistan, and India. Carrying out attacks across borders, including assassinations, murders, armed robberies, and kidnapping, assisted by open and porous borders and large flow of illegal immigrants across borders. This paper examines the effect of Radical Islam on Transnational security through a review of past literature and the social and security consequences on the people of the regions. Our findings indicate that the activities of armed Islamic movements such as Boko Haram, Ansaru and Al-Qaeda are having a negative impact on the economy, development, and security of the states and people of West Africa and the Asia Pacific. It stresses the importance of regional, transnational and international cooperation, as these threats to national and transnational security can no longer be solved in a national or regional framework. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Islamic%20movements" title="Islamic movements">Islamic movements</a>, <a href="https://publications.waset.org/abstracts/search?q=jihadist%20terrorism" title=" jihadist terrorism"> jihadist terrorism</a>, <a href="https://publications.waset.org/abstracts/search?q=radical%20Islam" title=" radical Islam"> radical Islam</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20security" title=" transnational security"> transnational security</a> </p> <a href="https://publications.waset.org/abstracts/102740/radical-islam-and-transnational-security-west-africa-and-the-asia-pacific-in-view" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102740.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">163</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">273</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">272</span> Migratory Trajectory of Transnational Street Beggars in South Western, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Usman%20Adekunle%20Ojedokun">Usman Adekunle Ojedokun</a>, <a href="https://publications.waset.org/abstracts/search?q=Adeyinka%20Abideen%20Aderinto"> Adeyinka Abideen Aderinto</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Migration remains an important course of action often resort-to by human and some other classes of animal for survival in the face of life-threatening conditions. However, the activity of certain group of immigrants, who are exploiting the socio-economic and environmental challenges in their home countries to conduct street begging across different countries in Africa, is fast becoming a major cause for concern. This paper examined the migratory trajectory of transnational street beggars in South Western, Nigeria. Strain and Migration Network Theories were adopted for the study. The methods of data collection were survey questionnaire, in-depth interview, and key informant interview. Convenience and purposive sampling techniques were employed for the selection of 395 transnational street beggars and 4 key informants were purposively chosen. Findings revealed that transnational street beggars immigrated into Nigeria all year round and all of them came by road. Also, while some of them entered the country officially, others gained entry illegally. The majority (29.3%) arrived through Sokoto, a border State to some neighbouring countries. This study calls for more security measures at the Nigerian borders as a way of controlling the influx of this category of beggars into the country. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=transnational%20street%20beggars" title="transnational street beggars">transnational street beggars</a>, <a href="https://publications.waset.org/abstracts/search?q=street%20begging" title=" street begging"> street begging</a>, <a href="https://publications.waset.org/abstracts/search?q=migration" title=" migration"> migration</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigeria" title=" Nigeria"> Nigeria</a> </p> <a href="https://publications.waset.org/abstracts/19078/migratory-trajectory-of-transnational-street-beggars-in-south-western-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19078.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">261</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">271</span> Transnational Higher Education: Developing a Transnational Student Success Signature for Clinical Medical Students an Action Research Project </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wendy%20Maddison">Wendy Maddison</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper describes an Action Research project which was undertaken to inform professional practice in order to develop a newly created Centre for Student Success in the specific context of transnational medical and nursing education in the Middle East. The objectives were to enhance the academic performance, persistence, integration and personal and professional development of a multinational study body, in particular in relation to preclinical medical students, and to establish a comfortable, friendly and student-driven environment within an Irish medical university recently established in Bahrain. Expatriating a new part of itself into a corner of the world and within a context which could be perceived as the antithesis of itself, in particular in terms of traditional cultural and organisational values, the university has had to innovate in the range of services, programmes and other offerings which engages and supports the academic success of medical and nursing students as they “encounter the world in the classroom” in the context of an Arab Islamic culture but within a European institution of transnational education, engaging with a global learning environment locally. The outcomes of the project resulted in the development of a specific student success ‘signature’ for this particular transnational higher education context. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=transnational%20higher%20education" title="transnational higher education">transnational higher education</a>, <a href="https://publications.waset.org/abstracts/search?q=medical%20education" title=" medical education"> medical education</a>, <a href="https://publications.waset.org/abstracts/search?q=action%20research" title=" action research"> action research</a>, <a href="https://publications.waset.org/abstracts/search?q=student%20success" title=" student success"> student success</a>, <a href="https://publications.waset.org/abstracts/search?q=Middle%20Eastern%20context" title=" Middle Eastern context"> Middle Eastern context</a>, <a href="https://publications.waset.org/abstracts/search?q=student%20persistence%20in%20the%20global-local" title=" student persistence in the global-local"> student persistence in the global-local</a>, <a href="https://publications.waset.org/abstracts/search?q=student%20support%20mechanisms" title=" student support mechanisms"> student support mechanisms</a> </p> <a href="https://publications.waset.org/abstracts/20024/transnational-higher-education-developing-a-transnational-student-success-signature-for-clinical-medical-students-an-action-research-project" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20024.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">695</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">270</span> Translingual Discrimination and Migrants</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sender%20Dovchin">Sender Dovchin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Moving beyond two main frameworks of interlingual and intralingual discrimination, this paper will address the understanding of translingual discrimination. This concept refers to discrimination based on how one uses certain languages, linguistic and communicative repertoires, which are (il)legitimised by the interactants. Translingual discrimination contributes intensity to transnational migrations processes, where migrants with transitional backgrounds seem to illustrate two main characteristics of marginalizations – “name discrimination” and “accentism”. The lifelong accumulation of these characteristics of translingual discrimination may cause negative emotionality, such as translingual inferiority complexes, to its victims. As a result, these transnational migrants seem to adopt varied coping strategies such as CV-whitening and accent purifications while probing for translingual safe spaces. The presentation concludes with the socio-cultural and pedagogical implications of translingual discrimination in relation to the language usage of transnational migrants. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=accentism" title="accentism">accentism</a>, <a href="https://publications.waset.org/abstracts/search?q=discrimination" title=" discrimination"> discrimination</a>, <a href="https://publications.waset.org/abstracts/search?q=migrants" title=" migrants"> migrants</a>, <a href="https://publications.waset.org/abstracts/search?q=translingualism" title=" translingualism"> translingualism</a> </p> <a href="https://publications.waset.org/abstracts/173361/translingual-discrimination-and-migrants" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173361.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">269</span> Living Together Apart: Gender Differences in Transnational Couple Living Perceptions in the Ghanaian Context</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rodlyn%20Remina%20Hines">Rodlyn Remina Hines</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Males and Females respond differently to life situations, including transnational living. Being in a transnational marriage relationship may put a strain on the relationship requiring partners to adjust their behaviors and expectancies of the other partner to accommodate the disruptions in the relationship. More so, when one partner is an immigrant to a new geographic location with the other in the native country, these disruptions may be intensive. This qualitative study examined gender differences in how married Ghanaian couples respond to making a life together as a couple while living across international borders. The study asked two questions: (1) What are the perceptions of males and females on transnational living? and (2) how do married males and females respond to transnational living situations? To answer these questions, semi-structured interviews were conducted with 24 married couples- with one partner living in the United States (U.S.) and the other spouse in Ghana via purposive and snowball sampling techniques. Participants were aged 26 to 59 years with an average age of 40; the average age of relationship: 10.41; and average years of living apart: 6.7. Induction and deduction hybrid analysis strategies were used to derive emerging themes. The results highlight significant gender differences in response to transnational living status and practices. The data indicate that transnational couples with the male spouse residing in the U.S. experience more relationship strains than is the case when the female partner is the immigrant. Three couples who were in divorce proceedings at the time of the interview had the male partner residing in the U.S. and the female spouse in Ghana. These gender differences also reflected spousal visitation frequency, duration of spousal reunification, amount of and frequency of spousal remittance(s), and immigration processing procedures. Finally, the data show female immigrant partners as better managers of transnational living stresses and strains than their male counterparts. Findings from this study have implications for marriage and family practitioners and immigration policy makers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender%20differences" title="gender differences">gender differences</a>, <a href="https://publications.waset.org/abstracts/search?q=" title=" "> </a>, <a href="https://publications.waset.org/abstracts/search?q=ghanaian%20couples" title=" ghanaian couples"> ghanaian couples</a>, <a href="https://publications.waset.org/abstracts/search?q=ghanaian%20immigrants" title=" ghanaian immigrants"> ghanaian immigrants</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20living" title=" transnational living"> transnational living</a> </p> <a href="https://publications.waset.org/abstracts/164627/living-together-apart-gender-differences-in-transnational-couple-living-perceptions-in-the-ghanaian-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164627.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">84</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">268</span> Lesbian Stereotype Representation in Cinema in Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hasan%20G%C3%BCrkan">Hasan Gürkan</a>, <a href="https://publications.waset.org/abstracts/search?q=Rengin%20Ozan"> Rengin Ozan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cinema, as a popular mass media tool, affects the general perception of the society against sexual identity. By establishing on interaction relationship with cinema and social reality, the study also tries to answer what the importance of lesbian identity in social life in films in Turkey is. This article focus on representing the description of the women characters who call their selves lesbian in Turkey cinema. The study tries to answer these three questions: First, how the lesbian characters are represented in films in Turkey? Second, what is the reality of the lesbian sexual identity in the films? Third, what are the differences and similarities between the lesbian characters in films in Turkey before 2000s and after 2000s? The films are analysed by the sociological film interpretation in this study. When comparing the films before 2000 and after 2000, it is possible to say that there have been no lesbian characters in many films. Especially almost all of the films (Haremde Dört Kadın, Ver Elini İstanbul, Dul Bir Kadın, Gramofon Avrat, Lola and Billidikid), during 1960s, just threw looks indirect the lesbian sex identity. Just in the films Düş Gezginleri, İki Genç Kız and Nar, the women character (also called them as lesbian) are the leading role and the plot of the films is progressing over these characters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema%20in%20Turkey" title="cinema in Turkey">cinema in Turkey</a>, <a href="https://publications.waset.org/abstracts/search?q=lesbian%20identity" title=" lesbian identity"> lesbian identity</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype" title=" stereotype"> stereotype</a> </p> <a href="https://publications.waset.org/abstracts/41877/lesbian-stereotype-representation-in-cinema-in-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41877.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">338</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">267</span> Digital Cinema Watermarking State of Art and Comparison</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20Kelkoul">H. Kelkoul</a>, <a href="https://publications.waset.org/abstracts/search?q=Y.%20Zaz"> Y. Zaz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, the vigorous popularity of video processing techniques has resulted in an explosive growth of multimedia data illegal use. So, watermarking security has received much more attention. The purpose of this paper is to explore some watermarking techniques in order to observe their specificities and select the finest methods to apply in digital cinema domain against movie piracy by creating an invisible watermark that includes the date, time and the place where the hacking was done. We have studied three principal watermarking techniques in the frequency domain: Spread spectrum, Wavelet transform domain and finally the digital cinema watermarking transform domain. In this paper, a detailed technique is presented where embedding is performed using direct sequence spread spectrum technique in DWT transform domain. Experiment results shows that the algorithm provides high robustness and good imperceptibility. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20cinema" title="digital cinema">digital cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=watermarking" title=" watermarking"> watermarking</a>, <a href="https://publications.waset.org/abstracts/search?q=wavelet%20DWT" title=" wavelet DWT"> wavelet DWT</a>, <a href="https://publications.waset.org/abstracts/search?q=spread%20spectrum" title=" spread spectrum"> spread spectrum</a>, <a href="https://publications.waset.org/abstracts/search?q=JPEG2000%20MPEG4" title=" JPEG2000 MPEG4"> JPEG2000 MPEG4</a> </p> <a href="https://publications.waset.org/abstracts/61470/digital-cinema-watermarking-state-of-art-and-comparison" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/61470.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">251</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">266</span> Affective Communities of Women in the Classic Spanish-Mexican-Argentinian Cinema. A Comparative Perspective from a South-South Gaze</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Invernizzi%20Agostina">Invernizzi Agostina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> From the 1930s, it is possible to find a phenomenon that persists through to the sixties in the national filmographies of different southern latitudes (Spain, Mexico, Argentina): the proliferation of ensemble films of groups of women who serve base to elaborate broader social conflicts and to construct imaginaries of the nation and of genders. This paper will address the modes of figuration of some affective imaginaries among women where the forms of sociability and the bonds of sisterhood are determined by the spaces in which the women are grouped. In these films, there are forms of affectivity that dispute the meanings of the patriarchal order of the time. One of the hypotheses is that these films formulate communities of women that carry out a reconfiguration of affective and transnational spaces. This research presents a multidisciplinary approach that simultaneously combines film and audiovisual studies, gender studies, decolonial feminist theories, and affects theories. The study of this phenomenon will provide us with keys for articulating with current problematics, such as the genealogies of women's movements, of which the cinema offers echoes and is a privileged medium for reflection and social change, as well as the international contact flows between these three geographical points, their migratory processes and cultural exchanges, transnationalism and integration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=affects" title="affects">affects</a>, <a href="https://publications.waset.org/abstracts/search?q=feminisms" title=" feminisms"> feminisms</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=gender" title=" gender"> gender</a> </p> <a href="https://publications.waset.org/abstracts/147122/affective-communities-of-women-in-the-classic-spanish-mexican-argentinian-cinema-a-comparative-perspective-from-a-south-south-gaze" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147122.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">107</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">265</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">264</span> Penalization of Transnational Crimes in the Domestic Legal Order: The Case of Poland</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Magda%20Olesiuk-Okomska">Magda Olesiuk-Okomska</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The degree of international interdependence has grown significantly. Poland is a party to nearly 1000 binding multilateral treaties, including international legal instruments devoted to criminal matters and obliging the state to penalize certain crimes. The paper presents results of a theoretical research conducted as a part of doctoral research. The main hypothesis assumed that there was a separate category of crimes to penalization of which Poland was obliged under international legal instruments; that a catalogue of such crimes and a catalogue of international legal instruments providing for Poland’s international obligations had never been compiled in the domestic doctrine, thus there was no mechanism for monitoring implementation of such obligations. In the course of the research, a definition of transnational crimes was discussed and confronted with notions of international crimes, treaty crimes, as well as cross-border crimes. A list of transnational crimes penalized in the Polish Penal Code as well as in non-code criminal law regulations was compiled; international legal instruments, obliging Poland to criminalize and penalize specific conduct, were enumerated and catalogued. It enabled the determination whether Poland’s international obligations were implemented in domestic legislation, as well as the formulation of de lege lata and de lege ferenda postulates. Implemented research methods included inter alia a dogmatic and legal method, an analytical method and desk research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=international%20criminal%20law" title="international criminal law">international criminal law</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20crimes" title=" transnational crimes"> transnational crimes</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20criminal%20law" title=" transnational criminal law"> transnational criminal law</a>, <a href="https://publications.waset.org/abstracts/search?q=treaty%20crimes" title=" treaty crimes "> treaty crimes </a> </p> <a href="https://publications.waset.org/abstracts/78790/penalization-of-transnational-crimes-in-the-domestic-legal-order-the-case-of-poland" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78790.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">223</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">263</span> Film Studies: Definition, Current Status, and Future Perspectives for Cuba</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carlos%20Guillermo%20Lloga%20Sanz">Carlos Guillermo Lloga Sanz</a>, <a href="https://publications.waset.org/abstracts/search?q=Maria%20del%20Carmen%20Tamayo%20Asef"> Maria del Carmen Tamayo Asef</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As an object of study in Cuban universities, cinema is still in its infancy. This is relevant considering the significance of cinema within the local political culture and its impact on countries of the region. Discussions about the medium have been carried out mainly in the field of film criticism. The objective of this article is to reflect on the divergences between film studies and film criticism taking into account formal and theoretical features and to explore the transcendence of this debate for the intellectual ambiance of the Island. Methodologically, the study relies on theoretical elaborations based on literature review and non-structure interviews with Cuban film critics and scholars. The study finds that the gradation proposed by the Anglo-Saxon tradition, where film studies are considered a “higher stage," compared to criticism and cinephilia, does not apply to the Cuban space. Instead, to assess the state of reflection on cinema in Cuba, it is essential to consider it a starry node traversed by epistemic, institutional, and geopolitical matrices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title="film studies">film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20criticism" title=" film criticism"> film criticism</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20cinema" title=" Cuban cinema"> Cuban cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Cuban%20film%20studies" title=" Cuban film studies"> Cuban film studies</a> </p> <a href="https://publications.waset.org/abstracts/152140/film-studies-definition-current-status-and-future-perspectives-for-cuba" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152140.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">99</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">262</span> Maras and Public Security in Central America in XXI Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michal%20Stelmach">Michal Stelmach</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this paper is a critical analysis of the security policy in the field of the fight against transnational criminal groups in Central America in XXI century. We are analyzing all taken issues from several perspectives: political, anthropological, sociological and legal which allows me to confront behavior and the attitudes of the political elites against official legislative changes and declared actions, strategies and policies against practice. In the first part of paper we would like to present the genesis and characteristic of transnational gangs, called maras and next we would like to present their activities and roles within chosen sectors of organized crimes. In the second part we will analyze the government’s policy towards transnational criminal groups. The analysis will be concentrated on public safety policy implemented in specific Central American countries as well as regional international cooperation. The main intention of the author is to present the state of the security in Central America in XXI century by emphasizing failures and successes in the fight against transnational criminal organizations. Additionally we want to present and define the challenges currently facing the region now and to show the prediction of the situation’s development within next future and to define the recommendations on the design of public security policies in Central American countries. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=maras" title="maras">maras</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20security" title=" public security"> public security</a>, <a href="https://publications.waset.org/abstracts/search?q=human%20rights" title=" human rights"> human rights</a>, <a href="https://publications.waset.org/abstracts/search?q=Central%20America" title=" Central America"> Central America</a> </p> <a href="https://publications.waset.org/abstracts/26188/maras-and-public-security-in-central-america-in-xxi-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26188.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">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">261</span> Transnational Corporation as Political Form of Government</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olha%20Oleshchuk">Olha Oleshchuk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Such companies as Apple, Coca-Cola, Microsoft, Samsung are well-known, but most people do not know about their economic and political influence on society at national and international levels. This ignorance is beneficial for transnational corporations because it reduces the risk of possible resistance of the society and creates favourable conditions for the formation of a new governmental political form. The aim of the research to analyse the opportunity of creating of a new governmental political form. The aim of the research is realized by implementation of such objectives: 1) to consider the possibility of the formation of new political forms of government; 2) to determine the influence of TNCs on the state, which is necessary for a mature, aware citizen; 3) to learn the roles of TNCs, which provide the awareness in the spheres of the world politics, economics, and everyday life. The relevance of the research is confirmed by the fact that new political forms of government are poorly studied. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=objective%20factors%20of%20losing%20leading%20position%20by%20state" title="objective factors of losing leading position by state">objective factors of losing leading position by state</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20corporations" title=" transnational corporations"> transnational corporations</a>, <a href="https://publications.waset.org/abstracts/search?q=TNCs%27%20economic%20influence" title=" TNCs' economic influence"> TNCs' economic influence</a>, <a href="https://publications.waset.org/abstracts/search?q=TNCs%27%20political%20influence" title=" TNCs' political influence"> TNCs' political influence</a> </p> <a href="https://publications.waset.org/abstracts/132266/transnational-corporation-as-political-form-of-government" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132266.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">140</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">260</span> Hot Face of Cold War: 007 James Bond</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=G%C3%BCnevi%20Uslu%20Evren">Günevi Uslu Evren</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Propaganda is one of the most effective methods for changing individual and mass opinions. Propaganda tries to get the message across to people or masses to effect rather than to provide objective information. There are many types of propaganda. Especially, political propaganda is a very powerful method that is used by states during in both war and peace. The aim of this method is to create a reaction against them by showing within the framework of internal and external enemies. Propaganda can be practiced by many different methods. Especially during the Cold War Era, the US and USSR have tried to create an ideological effect by using the mass media intensively. Cinema, which is located at the beginning of these methods, is the most powerful weapon to influence the masses. In this study, the historical process of the Cold War is examined. Especially, these propagandas that had been used by United States and The Soviet Union were investigated. The purposes of propaganda and construction methods were presented. Cold War events and relations between the US and the USSR during the Cold War will be discussed. Outlooks of two countries to each other during the Cold War, propaganda techniques used defectively during Cold War and how to use the cinema as a propaganda tool will be examined. The film "From Russia with Love, James Bond 007" that was filmed in Cold War were examined to explain how cinema was used as a propaganda tool in this context. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=cold%20war" title=" cold war"> cold war</a>, <a href="https://publications.waset.org/abstracts/search?q=James%20Bond" title=" James Bond"> James Bond</a>, <a href="https://publications.waset.org/abstracts/search?q=propaganda" title=" propaganda"> propaganda</a> </p> <a href="https://publications.waset.org/abstracts/7256/hot-face-of-cold-war-007-james-bond" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7256.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">519</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">259</span> Self-Serving or Self-Effacing: An Analysis of the Zimbabwe-United Kingdom Diaspora`S Role in Human Rights Advocacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=J.T.%20Chivanga">J.T. Chivanga</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper conceptualizes the significance of human rights activism by the Zimbabwean diaspora in the United Kingdom by analyzing how the diaspora advocates for the promotion of the rights of the people in Zimbabwe. It critiques the strategic essentialism theory that is used by the government of Zimbabwe as a basis to discredit the work of transnational advocacy groups. The research advances this position by articulating that the diaspora does not falsify nor simplify them to garner external support on the human rights situation in Zimbabwe. It establishes and shows the significance of transnational advocacy by articulating how the Zimbabwean diaspora addresses and brings to the attention of the international community human rights violations in Zimbabwe that would otherwise not have seen the light of day due to the absence of a conducive environment in that country that stifles the organization of protests under repressive laws such as the public order and security act of 2009. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=strategic%20essentialism" title="strategic essentialism">strategic essentialism</a>, <a href="https://publications.waset.org/abstracts/search?q=transnational%20advocacy" title=" transnational advocacy"> transnational advocacy</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20order%20and%20security%20act" title=" public order and security act"> public order and security act</a>, <a href="https://publications.waset.org/abstracts/search?q=Zimbabwe%20diaspora" title=" Zimbabwe diaspora"> Zimbabwe diaspora</a> </p> <a href="https://publications.waset.org/abstracts/39810/self-serving-or-self-effacing-an-analysis-of-the-zimbabwe-united-kingdom-diasporas-role-in-human-rights-advocacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39810.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">241</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">258</span> 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">257</span> The Greek Diaspora in Australia: Identity and Transnational Identity </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Panayiota%20Romios">Panayiota Romios</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As the use of 'diaspora' has proliferated in the last decade, its meaning has been stretched in various directions. Current diaspora frames of identity representation do not adequately capture the complexities of everyday lived experiences of transnational individuals and groups. This paper presents the findings of a qualitative research project conducted in Melbourne, Australia with second generation Greek Australians. It analyses the forms of intercultural identities of the second generation Greek Australians returning to Australia post-2008, after living in Greece for an extended period of time. The discussion highlights key characteristics in relation to diaspora-homeland ties, seeking to denaturalise the commonplace assumptions and imaginations about the cultures and identities of Greek Australian diaspora communities and probe the relevance of identity markers such a country of origin, nationality, ethnicity, ethnic origin, language and mother tongue. The definition of diaspora experienced in this transnational lexicon is interestingly quite distinct from original articulations and also from others returning ‘home’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=diaspora" title="diaspora">diaspora</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=migration" title=" migration"> migration</a>, <a href="https://publications.waset.org/abstracts/search?q=displacement" title=" displacement"> displacement</a> </p> <a href="https://publications.waset.org/abstracts/80859/the-greek-diaspora-in-australia-identity-and-transnational-identity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80859.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 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