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Articles 2881 - 2910 of 9131
Full-Text Articles in Entire DC Network
What They've Been Taught, William L. Blizek
What They've Been Taught, William L. Blizek
Journal of Religion & Film
This is a film review of What They've Been Taught (2022), directed by Brit Hensel.
Maidenhood, William L. Blizek
Maidenhood, William L. Blizek
Journal of Religion & Film
This is a film review of Maidenhood (2022) directed by Xóchitl Enríquez Mendoza.
Huella, William L. Blizek
Huella, William L. Blizek
Journal of Religion & Film
This is a film review of Huella (2022), directed by Gabriela Ortega.
Long Line Of Ladies, William L. Blizek
Long Line Of Ladies, William L. Blizek
Journal of Religion & Film
This is a film review of Long Line of Ladies (2022), directed by Rayka Zehtabchi and Shaandiin Tome.
Goodbye Jerome!, William L. Blizek
Goodbye Jerome!, William L. Blizek
Journal of Religion & Film
This is a film review of Goodbye Jerome! (2022), directed by Gabrielle Selnet, Adam Sillard, and Chloé Farr.
Introduction To Slamdance 2022, William L. Blizek
Introduction To Slamdance 2022, William L. Blizek
Journal of Religion & Film
This is the Introduction to the Slamdance Film Festival 2022.
Forget Me Not, William L. Blizek
Forget Me Not, William L. Blizek
Journal of Religion & Film
This is a film review of Forget Me Not (2021), directed by Olivier Bernier.
Oldboy's Apples, William L. Blizek
Oldboy's Apples, William L. Blizek
Journal of Religion & Film
This is a review of the short film, Oldboy's Apples (2022), directed by Brad Hock.
Ultrainocencia, William L. Blizek
Ultrainocencia, William L. Blizek
Journal of Religion & Film
This is a film review of Ultrainocencia (2020), directed by Manuel Ariza.
A Table Is As Good As Nine Lives, William L. Blizek
A Table Is As Good As Nine Lives, William L. Blizek
Journal of Religion & Film
This is a review of the short film, A Table Is as Good as Nine Lives (2022), directed by Christina Leonardi.
Somebody Take The Wheel, William L. Blizek
Somebody Take The Wheel, William L. Blizek
Journal of Religion & Film
This is a review of the short film, Somebody Take the Wheel (2022), directed by Kenzie Sutton.
Maharaja's Children, William L. Blizek
Maharaja's Children, William L. Blizek
Journal of Religion & Film
This is a film review of Maharaja's Children (2022), directed by Tomasz Stankiewiez.
Return Of The Action Man, William L. Blizek
Return Of The Action Man, William L. Blizek
Journal of Religion & Film
This is a film review of Return of the Action Man (2022), directed by Scott Peters.
In The Jam Jar, William L. Blizek
In The Jam Jar, William L. Blizek
Journal of Religion & Film
This is a film review of In the Jam Jar (2022), directed by Colin Nixon.
Be Right Back, John C. Lyden
Be Right Back, John C. Lyden
Journal of Religion & Film
This is a film review of Be Right Back (2022), directed by Frauke Havemann.
Killing The Eunuch Khan, Sheila J. Nayar
Killing The Eunuch Khan, Sheila J. Nayar
Journal of Religion & Film
This is a film review of Killing the Eunuch KHAN (2022), directed by Abed Abest.
The Multi, William L. Blizek, Monica Blizek
The Multi, William L. Blizek, Monica Blizek
Journal of Religion & Film
This is a film review of The Multi (2022), directed by Storm S. Smith and Mikhail Chowdhury.
Interview With Natasha Ofili, Monica Blizek
Interview With Natasha Ofili, Monica Blizek
Journal of Religion & Film
Natasha Ofili, the star and screenwriter of The Multi, was interviewed by Monica Blizek about the process that led to the creation of the film.
Tantura, Sheila J. Nayar
Tantura, Sheila J. Nayar
Journal of Religion & Film
This is a film review of Tantura (2022), directed by Alon Schwarz.
Female Victimization In The 1970s And 1980s Slasher Film, Sarah Lukowski
Female Victimization In The 1970s And 1980s Slasher Film, Sarah Lukowski
Undergraduate Theses and Capstone Projects
To examine this portrayal of women in 1970s and 1980s slashers, I will first provide background on the genre using the influential films The Texas Chain Saw Massacre (1974) and Halloween (1978), and from there I will define the genre in accordance with its characteristics and formulaic conventions. Clover’s groundbreaking work (1987; 1992), offers a feminist perspective on slasher films and will provide substantial evidence throughout my paper. Then, I will compare and contrast multiple content analyses from the 1980s to the 2000s that use empirical studies to evaluate the degree to which women are victimized in slashers by the …
I'M Here, William L. Blizek
I'M Here, William L. Blizek
Journal of Religion & Film
This is a film review of I'm Here (2020), directed by Julia Orlik.
The Making Of Everyday Hollywood: 1930s Film Influence On Everyday Women’S Fashion In Nebraska, Anna Naomi Kuhlman
The Making Of Everyday Hollywood: 1930s Film Influence On Everyday Women’S Fashion In Nebraska, Anna Naomi Kuhlman
Department of Textiles, Merchandising and Fashion Design: Dissertations, Theses, and Student Research
This research examines the influence of film fashions on middle-class, Nebraskan women’s dress during the Great Depression (1932-1940). The Great Depression challenged the middle class: while standards of living remained high, the economic means to achieve those standards diminished. Despite the crisis, women strove to keep up with current fashion trends. While previous literature has examined how Hollywood directly affected trends and styles of the 1930s in major American metropolitan contexts, the manifestation of trends in the dress of middle to lower socio-economic classes in Middle America remains under-examined. Against the backdrop of Depression-era hardships specific to Nebraska’s agricultural economy, …
The Gay Agenda: Being Accepted In Children’S Media, Tiffany Wells
The Gay Agenda: Being Accepted In Children’S Media, Tiffany Wells
Honors College Theses
For many LGBTQ+ children, there is a lack of representation of their identities in the television shows they see growing up. We turn to objects, like television characters, to help “find our way,” which becomes limited for individuals who are part of the minority (Ahmed 1). When television shows reflect a variety of lived experiences, they can increase cultural competence in their viewers. While LGBTQ+ representation in children’s media has increased, it is still difficult to implement such representation. This thesis we will discuss three shows, Gravity Falls, Steven Universe, and The Owl House, that have struggled with the implementation …
Pathetic Beauty: Mono No Aware In Hollywood Cinema –To Family And Friends In These Estranged Times–, Aaron Francis Ward
Pathetic Beauty: Mono No Aware In Hollywood Cinema –To Family And Friends In These Estranged Times–, Aaron Francis Ward
Japanese Society and Culture
Mono no aware is considered to be one of the central-most Japanese aesthetics and distinctive to Japanese identity (Keene 1995; Miller 2011). This aesthetic standpoint finds wistful beauty in the transient, and is most often translated to ‘beauty in pathos’ or ‘the ah-ness of things’ (Hume 1995), as exemplified in the Heian-era classic, The Tale of Genji (Murasaki 1981). To the outside world, mono no aware is most commonly associated with cherry-blossom viewing, where the short-lived existence of the falling cherry blossom is seen as a metonym for contemplation of the beauty in the transience of life itself. Although this …
Revolutionary Reenactment: Militant Futures Past In Rania And Raed Rafei’S “74 (The Reconstitution Of A Struggle)”, Judith Naeff
Revolutionary Reenactment: Militant Futures Past In Rania And Raed Rafei’S “74 (The Reconstitution Of A Struggle)”, Judith Naeff
Regards
This article analyses how innovative narrative techniques operate in the movie 74 (The Reconstitution of a Struggle) by Rania and Raed Rafei (2012). The film is a reenactment of an historical event: the student occupation of the American University of Beirut one year before the start of the Lebanese civil war. The use of improvised reenactment, testimonials and the voiceover all strengthen the film’s approach to the event as an embodied transformative experience, even as it descends into its defeat. While a cynical spectator might argue that the focus on “revolutionary becoming” reduces collective action to individual experience, the article …
Le Cinéma Politique Et Engagé Turc, Mehmet Ozturk
Le Cinéma Politique Et Engagé Turc, Mehmet Ozturk
Regards
This article is about Turkish political cinema. The cinema, which began with the authorization of the state during the fall of the Ottoman Empire, did not have an important political role during the construction of the Kemalist Republic. In the 1950s, it entered its golden age in pro-American Turkey. At the end of the 1960s, especially in the lead years (1970), political cinema was used on several occasions as part of the ideology of the far right and the revolutionary left. After the violence of the military coup of 1980, it remained rather cynical and disengaged. Political interpretations represented the …
Introduction – Le Cinéma Militant Dans Le Monde Arabe (Des Années 1960 À Nos Jours), Joseph Korkmaz
Introduction – Le Cinéma Militant Dans Le Monde Arabe (Des Années 1960 À Nos Jours), Joseph Korkmaz
Regards
Le cinéma militant dans le monde arabe, des années soixante du siècle dernier à maintenant, est tributaire d’un contexte historique marqué par le conflit israélo-palestinien et, par induction, israélo-arabe. Ce contexte s’inscrit à son tour dans la Guerre froide et le bras de fer entre le bloc communiste, mené par l’URSS, et le bloc occidental, parrainé par les États-Unis...
Usages Du Ciné-Tract Dans Le Film « Demande À Ton Ombre », Camille Leprince
Usages Du Ciné-Tract Dans Le Film « Demande À Ton Ombre », Camille Leprince
Regards
Lamine Ammar-Khodja's first feature film, produced in 2012, Demande à ton ombre (Ask your shadow) is part of the so-called "creation" documentary. A diary and political chronicle, this film which runs from January to March 2011 plunges us into the news of the Arab uprisings seen from Algeria. While distinguishing itself in several respects from a militant cinema, Demande à ton ombre does not deny certain processes of the tradition of cine-tracts. In order to measure this distant, even distanced, proximity to the resources of militant and engaged cinema, it is proposed here to analyze their function and …
Technology Of Cinematic Architecture In Science Fiction Movies, Hasan Al-Haj, Lena Hosni, Rana Ghannoum
Technology Of Cinematic Architecture In Science Fiction Movies, Hasan Al-Haj, Lena Hosni, Rana Ghannoum
Architecture and Planning Journal (APJ)
Cinematic architecture in the broadest terms, portrayed spaces as a scene, where it conceives and reads the built environment in terms of sequences. It explores the effect of futuristic architecture and highlight the significant role of cinematic architecture in the society. Both movies and architecture function as languages, with two components: the signifiers, which are the tangible forms of signs, and the signified, which are the concepts, thoughts, and ideals that the signifiers contain. Unfortunately, the world is experiencing fast changes as a result of the massive rise of technology and capitalism, and the cinema industry plays an important role …
From Classroom To Gallery Floor: A Processual Exploration Of Rene Saheb’S (Meta)Physical Engagements With Clay, Kasper Tromp
From Classroom To Gallery Floor: A Processual Exploration Of Rene Saheb’S (Meta)Physical Engagements With Clay, Kasper Tromp
Regards
This article presents a case study detailing the creative process of Iranian artist Rene Saheb. It analyzes the various stages, developments, and challenges Saheb went through while she explored the medium of clay, which was new to her artistic repertoire. Rather than focusing on outward properties of ceramics such as style or technique, the artist’s inward experiences of her medium and creative process are foregrounded by means of interviews.
As Saheb frequently turns to Islamic mysticism and poetry as conceptual anchorage throughout her creative process, her engagements with the ceramic medium will be discussed in light of relevant Islamic discourses …