Eliminating sexual violence requires understanding where it comes from and why it happens. We must learn to detect when the grounds for violence are being built up so that we can promptly take them down. How can we improve our ability to notice the subtle practices of sexism and make them a matter of critical reflection? The aim of this paper is to show how film can enhance critical perception of the social conditions that give rise to sexual violence (...) in particular. We do this by way of a specific example, showing how Joyce Chopra’s 1985 film Smooth Talk serves to display the complex circumstances that make sexual violence possible – thereby illustrating Frye’s philosophical insight about the interconnected mechanisms of oppression.​ -/- . (shrink)

In this book, Michael J. Shapiro stages a series of pedagogical encounters between political theory, represented as a compositional challenge, and cinematic texts, emphasizing how to achieve an effective research paper/essay by heeding the compositional strategies of films. The text's distinctiveness is its focus on the intermediation between two textual genres. It is aimed at providing both a conceptual introduction to the politics of aesthetics and a guide to writing strategies. In its illustrations of encounters between political theory and cinema, (...) the book's critical edge is its emphasis on how to intervene in cinematic texts with innovative conceptual frames in ways that challenge dominant understandings of life worlds. The Cinematic Political is designed as a teaching resource that introduces students to the relationship between film form and political thinking. With diverse illustrative investigations, the book instructs students on how to watch films with an eye toward writing a research paper in which a film constitutes the textual vehicle for political theorizing. (shrink)

Jean Baudrillard _Fatal Strategies_ Translated by Philip Beitchman and W. G. J. Niesluchowski Edited by Jim Fleming London: Pluto Press, 1999 ISBN 0-7453-1453-8 191 pp.

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting (...) the monster but one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

ABSTRACT Despite Institutional Review Board concerns about psychological harm arising from research participation, evidence from trauma-questionnaire research suggests that participation is typically well-tolerated by participants. Yet, it is unclear how participant experiences of in-lab trauma simulations align with IRB ethical guidelines. Thus, we compared reactions to a trauma film paradigm with reactions to a positive film task or cognitive tasks. Overall, relative to other conditions, the trauma film was well-tolerated by participants: they generally reported low-to-moderate negative emotions, (...) moderate benefits, and that participation was not worse than everyday stressors. Our results have implications for the research community in designing trauma-based research. (shrink)

To improve the movie box office prediction accuracy, this paper proposes an adaptive attention with consumer sentinel for movie box office prediction. First, the influencing factors of the movie box office are analyzed. Tackling the problem of ignoring consumer groups in existing prediction models, we add consumer features and then quantitatively analyze and normalize the box office influence factors. Second, we establish an LSTM box office prediction model and inject the attention mechanism to construct an adaptive attention with consumer sentinel (...) for movie box office prediction. Finally, 10,398 pieces of movie box office dataset are used in the Kaggle competition to compare the prediction results with the LSTM-AACS model, LSTM-Attention model, and LSTM model. The results show that the relative error of LSTM-AACS prediction is 6.58%, which is lower than other models used in the experiment. (shrink)

This pathbreaking collection of thirteen original essays examines the moral rights of the subjects of documentary film, photography, and television.

Historically, representations of Islamic themes in media narratives of Black men have been characterized by personal transformations in the midst of surviving in crime-ridden inner city areas. These young Black men are usually at-risk due to their statuses as Black, economically disadvantaged men. Beginning with Malcolm X and Alex Haley’s The Autobiography of Malcolm X, the Black male Islamic redemption narrative has become a common theme in Black popular culture, as it is usually supplemented with unique methods of confronting the (...) various dimensions of health. Throughout this study, the representations of these approaches among Black men in contemporary film and television are examined throughout realms of spiritual, emotional, mental, physical, social, and vocational health. (shrink)

Philosophy and science fiction are two separate discourses that use counter-intuitive scenarios in two distinct ways. Where philosophy endeavours to ground counter-intuitive scenarios, science fiction as a transmedial fictional genre acts in a pragmatic and exploratory manner by seeking to imagine what it would be like if they were real. In this paper, I analyse David Cronenberg’s science fiction film eXistenZ, and defend two theses. The critical-theoretical thesis: Cronenberg thinks society is being gamified and seeks to dramatise the process (...) of gamification along with its pitfalls. The metaphysical thesis: Cronenberg’s diegetic world brings about a new articulation of the scepticism as an old philosophical problem. An attempt to excavate the metaphysical presuppositions of this work reanimates Cartesian interactionist dualism and Kantian transcendental idealism, as two well-known philosophical positions. (shrink)

This chapter focuses on an explanation of the neglect of investigating and understanding emotional response to films. It argues that the kind of emotional experience a film offers is a proper target of ideological investigation. This chapter aims to suggest how emotions should be understood in ideological criticism. There is characterization of spectator emotion with a view toward conceptual clarification. This chapter examines two families of screen emotions: sentiment and sentimentality, and the emotions which accompany screen violence. Drawing on (...) work in both cognitive science and recent philosophy of mind, the chapter argues that a cognitive approach to the emotions offers a way of taking the role of emotions more seriously than it has been taken in most contemporary film theory. The chapter's usage of ‘cognitivism’ is distinctive by virtue of its challenge to the traditional distinction between reason and passion. (shrink)

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 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... (shrink)

(No abstract is available for this citation).

The meeting of film and history sits at a position where it becomes hard to distinguish their interdependent dynamics. Accordingly, how do film and history connect, work with or work against each other? What is the significance of film for constructing histories of the people whose past, identity and culture were denied for long years? Where does this bring or drive film towards becoming a medium through which precarious politics on diverse people are revealed, documented and (...) archived? Leaning on these, in this article, I will interrogate the position of transnational Kurdish cinema produced in Turkey for transforming the precarious political realms into a creative force that exposes different Kurdish histories, memories and temporalities. To do this I will make use of the interviews I conducted with Kurdish filmmakers in Turkey between 2010 and 2016, including Hüseyin Karabey, Mizgin Müjde Arslan, and Zeynel Doğan, and their films which reveal the tensions they inherit from their ancestors. (shrink)