This paper demonstrates an empirical analysis of the visual order of membership categories in a way consistent with both an early ethnomethodological research interest and recent arguments in membership categorization analysis. Early ethnomethodological studies have highlighted that we can infer and understand the membership categories of observed people about whom we have no information in advance, even without talking to them. Recent membership categorization analysts have argued the methodological importance of using video data. Given this, fictional films serve as (...) video data to advance the investigation into the visual order of membership categories since audiences do not know the fictional characters’ information in advance and cannot talk to them. We analyze how potential audiences understand fictional characters’ membership categories and how production crew members organize the visual and conversational order of membership categories. The analysis illustrates that our practical inferences of fictional characters’ membership categories are based on conversations among characters and visually available information. Such visually available information includes environments and lighting, as well as characters’ clothes, body orientations, facial expressions, and physical distance from each other. In other words, production crew members of fictional films design the visual and conversational order for remote audiences by arranging visually available information and fictional characters’ conversations. The findings provide insights into the “possible correctness” and “defeasibility” of membership categorization practices. Particularly regarding fictional characters’ membership categories, production crew members can employ the “possible correctness” and “defeasibility” of categorization practices to mislead audiences. (shrink)

Research on metaphor has over the past decades increasingly been extended to its visual and multimodal varieties. While analysts of verbal metaphors are helped by the fact that languages have grammars and vocabularies, researchers of visual and multimodal metaphors need to rely on other methods for identification and interpretation. One approach that claims to have developed a robust method for analyzing metaphor in moving images is FILMIP, which has hitherto focused on the specific genre of commercials. In this paper it (...) is argued that there are serious problems with FILMIP. First, the theoretical basis of FILMIP and two empirical studies drawing on it are discussed. Subsequently, its limited use for analyzing metaphors in the genre of feature films is demonstrated on the basis of four case studies. The paper ends with sketching some general advice pertaining to researching metaphor in film, and provides a cautious alternative to FILMIP. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, by Satoshi (...) Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

In this essay, I review two earlier anti-Semitic propaganda films of 1939, to wit, Robert and Bertram, and Linen from Ireland. I begin by rehearsing some of Abram de Swann’s analysis of genocide and then discuss in greater detail a classic sociological analysis written during WWII by Hans Speier. Speier distinguished three broad kinds of war of increasing ferocity: instrumental war, agonistic war, and absolute war. While the first two sorts of war are relatively constrained, in absolute war the (...) in-group regards the out-group as inherently evil, and consequently the goal of such a war is to exterminate the out-group, with no limitation on methods. I suggest in the piece that the focus of these films is precisely to get the audience to view Jews as three different things: different (not Germans as “Aryans” are supposed to be); disgusting (loathsome, somehow degenerate); and dangerous (a threat to Aryan Germans by their very nature). I cover both films, pointing to the scenes that are crafted to engender in the audience exactly these feelings. To help explain how the various scenes manipulate the audience to push the regime’s Anti-Semitic narrative, I use Robert Cialdini’s theory of the use of psychological mechanisms in marketing. (shrink)

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated (...) by optimism and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (shrink)

The aim of this paper is to map the reconfiguration and displacement of the emerging trauma of the Holocaust in the cinematic narratives of SFR Yugoslavia. The analysis of three nearly forgotten Yugoslav films of the 1960s - Killer on Leave, Witness Out of Hell and Smoke - follows Kansteiner?s thesis about the changes of Holocaust memorial narratives in the films shown on German television in the 1970s. Accordingly, I claim that the analyzed films position the trauma (...) of the Holocaust as a crime committed by others, over there, and then in the past. Further, they broaden the trauma to accommodate the diversified roles of victims, perpetrators, witnesses and bystanders, and help the Germans come to terms with the Nazi criminal legacy and their own role. The co-productional terms allow the films to balance the memory of the Holocaust as both anti-fascist and cosmopolitan, multidirectional within the real Yugoslav/German symbolic narrative space and its intrinsic poetics. (shrink)

This article starts out by introducing the category of the ‘one-character film’ — that is, narrative feature films that rely on a single onscreen character. One-character films can range from extremely laconic movies entirely focused on the action in the narrative here-and-now via highly talkative films that revolve around soliloquies of self-reflection, questioning of identity and a problematizing of the narrative past to strongly dialogue-heavy films that — via phones and other telecommunication devices — reach far (...) beyond the depicted scene. It is on the latter that the article eventually focuses. Films like Buried, Locke or The Guilty centrifugally thrust the viewers into a simultaneous present that remains invisible and that they have to imagine in sensory ways. Imagining this invisible elsewhere, which I call mise en esprit, can be facilitated and evoked through various cinematic means such as reduced within-modality-interference, suggestive verbalizations, acousmatic voices and sound effects. (shrink)

The image of Baba Yaga in the folk culture of the ancient Slavs is considered as an object of research in this work. As an important part of folk culture, Russian folk tales take upon themselves the responsibility to broadcast traditional moral qualities and form the basis of a person's evaluative and emotional attitude to the world. The subject of the study is the transformation and interpretation of the image of Baba Yaga performed by the People's Artist of the RSFSR (...) Georgy Millar in the film tales directed by Alexander Rowe. The authors set a goal to identify specific features in the interpretations of the image of Baba Yaga by George Millar and to identify the typology of these images. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of the films narrator Alexander Rowe. The authors, when considering the problem, achieve the following results: Georgy Millar starred in 16 Alexander Rowe's fairy tales, while performing 27 roles; he played Baba Yaga in 4 fairy tales; only the first is the canonical image, the other three images are the personal merit of Georgy Millar. In the process of developing the problem, the authors identify comparative criteria of Baba Yaga images: external features, behavioral characteristics, character traits. The novelty of the research consists in the unconventionality of the indicated approach, as well as in a comprehensive analysis of the palette of creative possibilities of actor Georgy Millar. As a result of the study, the authors come to the following conclusions: 1) the centuries-old image of Baba Yaga is very complex and often contradictory, so it can be transformed and interpreted; 2) Georgy Millar created 4 different images of the same character - Baba Yaga "Witch", Baba Yaga "Old Housewife", Baba Yaga "Mother" and Baba Yaga "The lady.". (shrink)

While Woody Allen is generally considered to be a master of the comic genre he created, his serious films are very important in understanding his role as one of this generation's more influential filmmakers. In this work such Allen films as Annie Hall (1977), Broadway Danny Rose (1984), Crimes and Misdemeanors (1989) and Mighty Aphrodite (1995) are analyzed for the common philosophical themes they share. Gender issues, Allen's love-hate relationship with God, narcissism and moral relativism, and the use (...) of the so-called existential dilemma are among the topics discussed. The extensive research is augmented with a rare interview with Allen. (shrink)

Gravestones and inscription stones, which are among the oldest indicators of the phenomenon of death engraved in the public memory with images and rituals, are the ancient interpreters of the consciousness of death, which is the redemption of human beings as conscious beings. The phenomenon of death or dying, which was domesticated through a natural spirituality in antiquity, and a monotheistic religiosity in the Middle Ages, loses its spirituality by becoming profaned in the hands of consumer culture and is brutalized (...) today in terms of lifestyle by being cut off from existence in positivist paradigm in epistemological terms. The study deals with the secular perception of death and the individual and social crises caused by this perception in the context of tradition and modernity. The purpose of the study is to draw attention to the spread of natural and materialist assumptions in the perception of death and the strengthening of the profane elements in mourning ceremonies and to make sense of the traces left by this process in the individual and society. It is seen in the study that the efforts to cover up and intimidate the deceased and the subject of loss bring existential crises, alienation, and violence against oneself or others. On the other hand, it is also understood that it is not a coincidence that the traces of the culture of reconciliation built between death and life by the traditional perception of death in the countryside as an alternative perception faced. The study has been conducted with the document analysis design method, which is a qualitative research type. The approaches to the phenomenon of death have been subjected to a chronological literature reading in the study, and the diagnoses of the 21st century attitudes of the death perception, which were reached by going back to early days, were tested in historical and semiotics terms with the films Making Ships from Watermelon Shell (2004) and Shattered (2021), which were chosen to represent two different paradigms as documentary data. The study is important in that it examined the changing perception of death and the culture of mourning in detail and created a current topography and contributes to the studies of the sociology of death, which is still a fresh field. (shrink)

Two recent films by Pulitzer Prize-winning playwright, David Mamet, can provide opportunities for observing student reactions to ethically troublesome situations and for discussing business-communication ethics in the classroom. The key question addressed in this article is whether business-communication courses, for example, those in public relations, can encourage students to make the "metaphoric leap" and apply Mamet's messages to class readings and discussions on ethical problems or challenges. Through showing two films in their entirety and conducting focus groups among (...) upper-level undergraduates, the authors find that there is instructional value in using Mamet's films to discuss ethics in business-related settings. (shrink)

The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of nature experienced by (...) his characters in the feature films and participants in the documentaries. I question whether Kant’s conception of the sublime is the one that best aligns with Herzog’s aesthetic aims and I contrast Kant’s transcendental sublime with what I describe as the physiological sublime of Edmund Burke. I draw some conclusions about the moral dimension of the sublime in the context of the relationship between humans and nature within the frame of contemporary ecological concerns. (shrink)

In this book, Sarah Mayberry Scott analyzes contemporary films to investigate how the history and values of the Deaf world provides opportunities for how the concepts of voice, silence, and listening can be expanded to include a diverse plurality of embodied experiences.

Werner Herzog’s films often have characters that are on spiritual journeys that take transgressive turns. These quests are also existential in nature, for what the characters often seek is transcendence. Because transgression is a sociological, philosophical, and theological entity, Herzog’s films are demanding because his outsider characters are often not easy to admire. Still, because they take on very personal self-examinations in their search for transcendence, we can respect their tragic, horrific, or painful excursions. Herzog’s protagonists are almost (...) always outsiders in some form. Whether “being on the outside” quite literally or figuratively, protagonists like Nosferatu, Kasper Hauser, or Aguirre somehow eschew societal norms and become figures of empathy, fear, or disgust. Even the characters of his documentary work, like Timothy Treadwell in Grizzly Man , are people who somehow do not fit in with society, and so seek escape through crossing boundaries or intense trials of will and perseverance. As outsiders, they are shunned, but the way they handle this is sometimes different: through madness (Aguirre), spirituality (Kasper Hauser), or rebellion (the cast of Even Dwarves Started Small ). These characters are in constant conflict with others, society, and themselves. I want to argue that one of the main reasons Herzog makes both artful, meditative films and ones that challenge spectators’ expectations, is due to the recurrence of the theme of spiritual transformation—or transcendence—that often is transgressive. Such Herzog heroes as Aguirre, Stroszek, Fitzcarraldo, or even the entire cast of Heart of Glass push beyond the limits of sanity, freedom, and societal restrictions in order to transgress or “pass” into a different mental state. Furthermore, such moves are spiritual in nature, since the characters become individual disciples of their own imaginings, their own beliefs, and their own codes of behavior. Both physically and psychically, these characters undertake journeys that allow us to see how difficult, yet ultimately manageable, these passages to transcendence are. I will discuss several Herzog films and characters that exemplify this tendency, including, Even Dwarfs Started Small , Aguirre, the Wrath of God , and Grizzly Man .  . (shrink)

_The Cinema of Andrzej Wajda: The Art of Irony and Defiance_ Edited by John Orr and Elzbieta Ostrowska Foreword by Andrzej Wajda London: Wallflower Press, 2003 ISBN 1-903364-89-2 227 pages.

This book treats six beloved films of Hitchcock: The 39 Steps, Saboteur, and North by Northwest, plus Dial M for Murder, Rear Window, and To Catch a Thief. Padilla reviews their production histories with an eye to classical influences, and then analyzes their links with Greek art, poetry, and philosophy.

:In this essay I will look at four recent films that have organ transplantations “at their heart”: 21 Grams, L'Intrus, Dirty Pretty Things and Heart of Jenin. Each film in its own way shows how Nancy's concept of the intruder balances in a different dynamics between biopolitical and biophilosophical concerns and proposes in various ways a changed concept of sacrifice, transforming sacrifice from religious offering into political or ethical resistance and allowing a-religious strivings to persist.