Hasil untuk "Motion pictures"

Anita Elberse, J. Eliashberg

Rakesh Singh, Sharika Mahato, Kritika Singh et al.

Abstract Background Assessment of the depiction of suicidal behavior in motion pictures would reveal the social representation of suicide that would foster suicide prevention in a country. Objectives We aimed to assess how suicidality has been depicted in Nepali movies by scrutinizing their contents against the sociodemographic checklist and WHO media guidelines for suicidal reporting. Methods This is a narrative quantitative analysis of suicidal behavior portrayals in the Nepali motion pictures that are publicly and freely accessible. Results Overall, out of the 573 scrutinized movies, we found ten movies consisting of 11 characters (i.e., the prevalence is 1.75%) showing suicidal behavior. The majority of suicidal behavior was seen in males 6 (54.5%), and the majority of attempters were students 3 (27.3%) or homemakers 2 (18.2%). Suicidal behavior was mostly observed in unmarried people 6 (54.5%). Hanging was the most prevalent method (45.5%), and home (36.4%) and public places (36.4%) were equally the most frequent places of attempt. The consequential risk factors for the attempts were found to be marital problems/premarital affairs (50%), followed by unfulfilled demand/conflict (30%). While all 11 items depicted the method and place of the attempt, two also depicted the complete scene of the attempt. One item used language that normalized suicide as a constructive solution to the problem. None of the pictures publicized any mental health messages or educated the public about suicide prevention. Conclusions The minimal adherence of the Nepali motion pictures on the depictions of suicidality with WHO media guidelines indicates urgent need to create awareness among the Nepali film fraternity.

Will Kitchen

Bowers, Cynthia, Prévost, Malaurie translator

Dominic Lash

Bruno Fontes

Este ensaio apresenta uma análise do filme "Alice nas Cidades" (Wim Wenders, 1974). Será assinalada a forma como o protagonista, um jornalista com um bloqueio na escrita que se refugia na fotografia, supera os seus dilemas por intermédio de um percurso de desorientação na companhia de uma criança, que vem lentamente restituir-lhe a capacidade de escrever. A análise será enriquecida sobretudo com trabalhos de Vilém Flusser, Gilles Deleuze e Roland Barthes.

Mahmoud Al Mahdy

In this research, the researcher cleared up the importance of modern technology usage through a self-experiment he prepared using the traditional techniques of movable puppets art by stop motion puppets technique, and mixed it with the other techniques got by using computer software such as: catch, Z brush, 3dmax, poser, and other graphic programs in addition to the usage of modern technology in the field of 3d object sprinting. The researcher executed a practical experiment in this research and explained it theoretically using pictures and lines analysis. The research aims at confirming the role of stop motion puppet, developing them, and confirming the role of modern digital technology in the development of arts to explain the secrets of this technique and to get some suggestions through the self-experiment of the researcher. The project execution plan depends on the observation of materials, tools, and programs used to produce films of puppets and to shed light on some art works produced by this international technique and to analyze some scenes in which the traditional technique was mixed with the modern technique. Last the researcher reaches the research results and reviews the recommendations of it.

Antony Fredriksson

In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire (Echos aus einem düsteren Reich, Werner Herzog, 1990) as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process of domestication and contrasting it with Merleau-Ponty's and Bernhard Waldenfels's phenomenological account of perception, in which the role of attention becomes paramount. This is an attempt to show how the question – what makes the documentary image unique – is entangled in epistemological questions concerning the relationship between vision, image, self and object. A closer investigation of the ambiguities inherent in the concept of “documentary” reveals something important concerning how the unknown becomes known.

Lucy Bolton

Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions of practical moral good in action. For Murdoch, moral philosophy can be seen as “a more systematic and reflective extension of what ordinary moral agents are continually doing”. Murdoch can help us further by her consideration of the value of a moral fable: does a morally important fable always imply universal rules? And how do we decide whether a fable is morally important? By bringing Murdoch and Margaret (Kenneth Lonergan, 2011) together in an exploration of the moral decision making of the film's protagonist and our assessment of her choices, we can learn more about the idea of film as a morally important fable rather than a fable that is purely decorative.

Kjetil Rødje

This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.

A. Bernardini

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Fabien Le Tinnier

Equipo Secuencias

Secuencias

J. Herrera

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J. Remes

Rohit Parimi, Doina Caragea

H. Roschk, Sebastian Grosse

D. Chisholm, G. Norman

A. Gazley, G. Clark, A. Sinha

Fernando V. Ferreira, Amil Petrin, Joel Waldfogel