CINEJ Cinema Journal

The Eye of the Tiger, Amongst Other Animals: The Non-Chinese Viewer’s Guide to the Symbolic Significance of Animals in Jia Zhangke’s A Touch of Sin

Kar Lok Pang — 2024-09-12

Jia Zhangke’s A Touch of Sin (2013) takes us through fictionalized accounts of four viral murder cases in China. While existing scholarship analyzing the film picks up Jia’s social commentary and common themes with his previous productions, there is a lack of scholarship providing sociocultural contextualization of the film’s cinematography, especially for the non-Chinese viewer. This essay argues that the film’s usage of animal imagery is symbolically significant. In particular, the animal imagery is central to understanding the role of natural law and justice in China. On top of aiding understanding of lawlessness and the effects of capitalism across rural and urban China, attention to the literary references and linguistic wordplay uncovers representations of law, justice, and balance in Chinese society. Finally, the lens of animals contrasted against the film’s central protagonists unveils interpretations of the futility of revolt against capitalism, and the ambiguous position of women in China.

Representation of India Pakistan tensions in Bollywood (2015-2020): Case study of Bajrangi Bhaijaan and Tiger Zinda Hai films

Mohammad Mohammadzadeh — 2024-09-12

Tensions between India and Pakistan is one of the important issues in South Asia. The tensions between these two countries have affected many political, security, military and cultural issues in this part of Asia. These tensions can be seen in many governmental and private institutions in these countries including mass media. One of these institutions is cinema, which is one of the powerful tools for representing the tensions. Many efforts have been made to investigate the representation of political tensions in cinema. In this paper, by explaining some of the articles in this regard, an attempt has been made to examine two Indian films, Bajrangi Bhaijaan and Tiger Zinda Hai in representing India-Pakistan tensions. Since the components of religion and identity are among the factors identified in these films, constructivism theory has been used to elaborate the components. Based on the results, these films have tried to bold the common norms between India and Pakistan by relying on religious and identity pluralism.

Ecranisation Analysis of Chimamanda Ngozi Adichie’s Half of a Yellow Sun

Brigette Sagmon — 2024-09-12

This study traced the ecranisation process in terms of the intrinsic elements in the novel Half of a Yellow Sun, that lies in the need for a more comprehensive analysis of the ecranisation process. Also, the lack of in-depth examination regarding how these differences affect the overall interpretation and reception of the narrative. A qualitative-descriptive method specifically content analysis was used in gathering the data. Ecranisation Theory was used as the grounds in determining the ecranisation process of the materials. On the other hand, Braun & Clarke’s thematic analysis was also utilized to derive themes out of the narratives. The researchers found out that there were five (5) major themes on the comparison between the materials; three (3) for the similarities which are: resilience in the face of adversity, political awakening and activism, gender roles and empowerment, two (2) for differences which are: adaptation of dialogue and interaction, visual simplification and streamlining.

The Role of the Chorus in Akira Kurosawa's 1990 Yume (Dreams)

Lampros Papagiannis — 2024-09-12

This article attempts an analysis of Akira Kurosawa’s 1990 Yume (Dreams) based on the idea that each one of the eight episodes that the film depicts have got a group of people (or animals) that seems to be the equivalent of the ancient Greek theatre chorus. Thus, the article is an effort to establish a basis upon which the film may be understood differently that it is until now. Moreover, as the last sentence of the article declares, the actual intention of the article is to create a basis upon which further academic research may be conducted.

Mapping the Trajectory of Adolescent Sexuality: The Portrait of Durga in Satyajit Ray’s Pather Panchali

Rebanta Gupta — 2024-09-12

The saga of Apu and Durga has been immortalized on celluloid by the pathbreaking film, Pather Panchali (1955), the first installment of Satyajit Ray’s cinematic bildungsroman, The Apu Trilogy, set in a remote village of Bengal. The portraits of the affectionate and dialectical relationship, which the brother and the sister shared, remain forever etched in the memory of the cinephiles. Apu’s metamorphosis into an adult over the course of the trilogy has been comprehensively scrutinized by film scholars and aficionados, but Durga has not enjoyed much critical spotlight. This paper examines the germination, evolution, and the trajectory of the adolescent sexuality of the teenage Durga, played by Uma Dasgupta, by dissecting her performative act in the film. The paper explores the construction of the image of Durga in the film and her place in the patriarchal ecosystem, arguing that Durga is in a constant process of negotiation with the patriarchal structure, occasionally entering and exiting the patriarchal domain to assert her sexuality: she defies patriarchal protocols yet sometimes gets subjugated by it. This process continues throughout the film, culminating in her death which could be interpreted as a metaphoric punishment she received for her assertion of her formidable sexuality.

From Home to Destitution: Deprived and Ignored Children in Yusuf ile Kenan (1979) and Masumiyet (1997)

Zühre Canay Güven — 2024-09-12

Yusuf ile Kenan (1979) and Masumiyet (1997) portray realistic ignored, neglected and deprived childhood in Turkish cinema. This article sets out to analyse the realistic depictions of child image focusing on displacement and destitute. Although displacement is dealt with broader senses of war and its consequences, this article, adapting an alternative discourse sets out to analyse the displacement in terms of family and homely atmosphere. First, I will present the odyssey of child image during the course of Turkish cinema. I aim to position elusive depiction of child image in Yusuf ile Kenan (1979) and Masumiyet (1997). Following spatial and narrative analysis in two steps, I will discuss the realistic destitute child images in these films in two parts: (a) spatial analysis focusing loss of home and (b) agency of child characters in narrative. I propose that realistic child image in these two films were constructed through delinquency and aphasia.

Sound Design in the Turkish TV Series and Cinema Sector: Post-Production Stage

Rahime Akikol — 2024-09-12

The present study examines the key factors determining the quality of sound design in the post-production stage, the importance of which is often overlooked in Turkish film and television. To this end, we evaluate the technical infrastructure used by the industry, the quantitative aspects and competencies of professionals, as well as their needs and the problems they encounter. The “snowball sampling” technique was used to reach out to prominent professionals with whom in-depth interviews were conducted. The data obtained during the interviews were subjected to descriptive analysis, based on which the strengths and weaknesses of Turkish TV and cinema were examined. Although employees in the Turkish sector are no different from their peers in other countries in terms of their qualifications and technical abilities, the study reveals that the time and budget allocated to the visual aspects of film production in Türkiye are considerably above those allocated to sound design, and that responsibility for this matter lies with the director and producer. This study is important in terms of presenting findings about the sectoral situation of the sound design to the academic literature.

An Exploration of the Changing Reputation of Spring In A Small Town at Different Times

Kaihui Bi — 2024-09-12

This article argues that while the power of political factors should not be underestimated, the change in the reputation of Fei Mu's Spring in a Small Town was a complex process that involved a combination of factors, such as the cultural construction of a symbolic system of the nation-state and the awakening of ontological consciousness brought about by economic development. More importantly, the study of audience reception of Spring in a Small Town has not been introduced in previous studies, and the lack of this perspective makes it impossible to grasp the complete journey of Chinese film conceptions and film viewing contexts. As Adorno argues, art is a product of social forces - economic, political, technological, etc. - and the proper study of art is the study of these forces. The fame of Spring in a Small Town has evolved from a controversial release in '48 to a classic of Chinese cinema today, providing a path to grasp the political, economic and cultural roles behind the film's critique and to understand the deep psychology of the audience at the time.

Woman’s Cinema on the Sri Lankan Silver Screen and the "Other" Female Filmmakers

Lanka Bandaranayake — 2024-09-12

Sri Lanka is a small-scale industry in the Global South. The hegemonic patriarchy of the industry, accelerated by various industrial, socio-political, and cultural matters directly affects the representation of women’s cinema in the country. This study aims to look at the female representation throughout the entire evolution of Sri Lankan women’s cinema and the state of their filmmaking practices, which is a rare study area. Further, the examination of the historical context and current trends of this paper will further seek to provide insights into the future development of the representation of women in Sri Lankan cinema.

Imagining Friends and Foes: The (Re)Education of Jojo Rabbit

William Skiles — 2024-09-12

The film Jojo Rabbit is a coming-of-age story that explores the power of the imagination in constructing and deconstructing Nazi ideals. Ten-year-old Johannes (Jojo) Betzler was educated by Nazi society to imagine Hitler, the Nazis, and the “Aryans” as his friends and the Jews as his diabolical foes. Only when he meets and befriends Else, a Jewish girl hidden in his attic, is he able to break free and begin to recognize and deconstruct these imagined friends and foes. Moreover, Jojo Rabbit demonstrates how friendship is a context in which vice or virtue can develop (depending on the friend) by enabling transformation, training the emotions, and enslaving or setting free. The filmmakers turn the Nazi imagination upon its head: they dismantle the Nazi view of jungle animals fighting each other for survival to show that it is only by laying down hatred and animosity that we can rely on each other and survive together amid the chaos.

Being Queer in Turkish Cinema: Existence, Appearance, and Representation

Övünç Ege — 2024-09-12

Queer representations in cinema are both influenced by and reflective of local or global cultures. In the context of Turkish cinema, patriarchal Turkish culture often negatively impacts the portrayal of queer identities. These portrayals tend to reflect society’s view of queers rather than illustrating their actual place within society. This study examines the evolution of queer representation in Turkish cinema from its inception to the present, highlighting queer identities and representation issues through the lens of Judith Butler's queer theory.

Masochist and Sadist Individuals at the Socio-Cultural Crisis in The Banshees of Inisherin

Sajed Hosseini — 2024-09-12

This study aims to analyze the death drive in McDonagh’s The Banshees of Inisherin while investigating the functions of self-defense, self-destruction, and self-abasement in the film. The proposed questions include: What is the function of death drive in the subjectivity of an individual destructing himself? What are the possible socio-cultural implications of death drive as suggested in the movie? To answer these questions, the study makes frequent use of key terms associated with self-defense mechanism, death drive in particular, as well as masochistic and sadistic elements to prove different features of self-destruction in various forms. The present research shows that death drive projects itself as masochistic self-defense reaction, which is more often than not characterized with resentment and antagonism.

Reading Stanley Kubrick’s The Shining Against the Backdrop of His Cinematic Expression

Özge Onay — 2024-09-12

Stanley Kubrick’s The Shining (1980) stands as a cinematic masterpiece, weaving visual and auditory elements to transcend conventional horror norms. This in-depth analysis sheds light on the film’s intricacies, including, amongst others, the Overlook Hotel’s foreboding opening and the hedge maze’s symbolism. Kubrick’s expert use of Steadicam techniques heightens vulnerability in Danny’s tricycle scenes, while the maze evolves into a psychological labyrinth. The climactic nine-minute sequence employs diverse camera tools and editing styles, revealing supernatural layers with a deliberate shift in mise-en-scene. My argument centres on Kubrick’s exceptional capacity to transcend traditional horror storytelling, using meticulous details to simultaneously evoke fear and contemplation. This analysis sheds light on the film’s artistry, showcasing how Kubrick’s work leaves an indelible mark on those who venture into the unsettling world of The Shining.

A Sentimental Android? M3GAN (2022) and Monstrous Doubling as a Negotiation of the Gendered Neo-Liberal Self

Michael Eden — 2024-09-12

This paper analyses the android M3GAN in the 2022 film of the same name, problematising recent framings that celebrate M3GAN as a gay icon, a feminist figure, or understand her as embodying our collective fear of artificial intelligence. Instead, I place M3GAN in a long line of narratives that mediate on the role of women in society, following the loosening of possibilities for woman brought about in the Enlightenment. I go on to suggest ways in which contemporary neoliberal values are forcefully communicated in popular culture and how in turn, the subject reacts and internalises ideology.

Ink And Influence: The Role of Media on Climate Policy Understanding

Ibrahim Dalkılıç — 2024-09-12

The main purpose of this study is to investigate the role of media (including cinema) on the CO2 emission levels of The United States of America (USA). Employing three co-integration methods, namely Canonical Co-Integrating Regression (CCR), Dynamic Least Squares (DOLS), and Fully Modified Least Squares (FMOLS), within the framework of Environmental Kuznet Curves (EKC) theory, we unravel the impact of media coverage on the USA’s carbon footprint. Utilizing Climate Policy Uncertainty index (CPU), extracted from prominent USA newspapers as a main concern, the analysis reveals a noteworthy outcome indicating media coverage pertaining to environmental issues, pollution, and climate changes emerges as a contributing factor in the reduction of CO2 emissions. The study also uses income per capita, renewable energy consumption and foreign direct investment as additional metrics of air pollution. The findings not only shed light on the influential role of media in shaping environmental outcomes but also offer valuable insights to policy makers and governors.

Review of Farmed Animals on Film: A Manifesto for a New Ethic

Carrie Packwood Freeman — 2024-09-12

This first-of-its-kind book is more than just an examination of the use of animals in films, but, more directly, the use of films to help animals.