Category: Film


Socio-Political Influence on The Ideologies in Daniel Craig’s Bond Films: The Power That Lies Within

James Bond is arguably one of the widest-reaching, longest-standing and most influential film franchises of our time. In this sense it can also be seen as a source of great power, a medium by which certain ideologies can be conveyed to many people. Writing about this in the 1980s, Bennett argues that political and cultural


Celebrity Cinema and Hallyu 2.0

Korean directors such as Im Kwon-Taek are synonymous with Korean national Cinema. They have raised the country’s cultural profile internationally through the film festival circuit. However, in more recent times, film is no longer a singular projection of the image of South Korea. (Berg, 2014; Shin, 2005) Today, television dramas have overshadowed films, flooding small


Depiction of the Good and Evil Conflict through Female Characters in Turkish Cinema from Kezban to İklimler

The narrative cinema mainly focuses on such genres as love, good vs. evil conflict, reunion of lovers, and the story of intervening evil characters. In contrast to classical cinema, independent cinema makes its way through questioning the “reality”, making an intellectual rather than emotional influence on the viewer, and preventing their identification with the story.


A Research Study of the Application of Digital Music in Taiwanese Films

The rapid progress of today’s digital technology has made a great impact on the music creation in the film industry. Today, musicians create their musical pieces using modern-day software and hardware to replace the traditional ways of writing music notation and performing by the orchestra or musical bands. It is more and more popular and


One Big Happy Family? Subverting Reaganism in Peggy Sue Got Married

While much critical analysis has been done on films made during Ronald Reagan’s two terms in the White House (1980-1988), that have been labeled “Reaganite cinema,” Francis Ford Coppola’s Peggy Sue Got Married (1986) has received limited attention. Most scholars have focused on how the film promotes traditional family values, i.e. the reinstatement of the


Luang Prabang Film Festival: 3 Years of Strength with the Power of Movie Fanatics to Enhance Filmmaking in Southeast Asia

The Luang Prabang Film Festival was founded in 2010 by Gabriel Kuperman, an American expat who had a strong passion for both film and this old capital city. The festival was run by an organized group called The Not-For-Profit Luang Prabang Film Festival (LPFF). The 3rdyear of this festival was held in December 1-5, 2012.


Malaysian eStories: The Passing of Oral Traditions

With new media and mediums, the art of oral traditions such as storytelling has evolved. Children and youngsters today learn stories from visual media such as the television, the Internet and more current, the Smartphone and tablet.How does a given cultural or traditional story retain its substance? Does a change in medium or media influence


Applying an Evaluation Model for Media Performance On Taiwanese Cinema

The rise of huge Chinese markets leads to many movie entrepreneurs and professionals in Taiwan and Hong Kong transferring their stages to Mainland China. To satisfy the Chinese Cinema market, Taiwan’s movie industries and their local audience have been encountering social phenomena such as local audience’s maladjustment to movie text produced by China, local movie


Traditional Chinese Aesthetics in “Life of Pi”: An Analysis of Traditional Chinese Aesthetics in Ang Lee’s Films under Contemporary Context

With the rapid development of film market in China, more Hollywood films involving Chinese philosophy has begun to proliferate. This paper attempts to investigate what is the impact of traditional Chinese Aesthetics on Hollywood movie. A specific analysis of Ang Lee’s latest work Life of Pi is the focus in this paper. Taoist philosophy is

“Our Fear Has Taken on a Life of its Own”: The Monster-Child in Japanese Horror Film of The Lost Decade

The monstrous child of Japanese horror film has become perhaps the most transnationally recognisable and influential horror trope of the past decade following the release of “Ring” (Hideo Nakata, 1999), Japan’s most commercially successful horror film. Through an analysis of “Ring”, “The Grudge” (Takashi Shimizu, 2002), “Dark Water” (Nakata, 2002), and “One Missed Call” (Takashi


Retelling the Nation: Narrating the Nation through Biopics

Cinema plays a pivotal role in the negotiation and construction of national identity, selectively appropriating history, attempting to forge a sense of commonality in a set of people by evoking a sense of a shared past and by establishing a rupture with ‘others’. One of the means of constructing a nation is through the biopic.


Emotional Realism and Actuality: The Function of Prosumer and Social Media Aesthetics in Film Production

Studies of film spectatorship and production techniques have rarely ignored notions of Reality. From the psychoanalytical approaches of Baudry and Metz to the auditory spaces of Doane, approaches to film reception have primarily focused on the methods and rationale behind a spectator’s investment in the reality of the spectacle. Additionally specific techniques that assist in


Witnessing the Birth of Asian Hollywood through the Hong Kong Film Archive: An Informational Interview with the Head of the Hong Kong Film Archive

Hong Kong Chinese-language cinema has a century-old history. In comparison to cinema in China, Hong Kong enjoyed a greater degree of political expression. The Hong Kong cinema industry produced a greater variety of Chinese-language films, without having to suffer from the constraints imposed by government censorship. For decades, Hong Kong reported to be the third


Mapping Narrative Trajectories in Documentary Films

Documentary films may set out to be objective but most end up advocating a point of view (Fox 2011, Taibbi, 2013). This seems to be true even of films attempting to follow a cinéma vérité style. The approach may be subtle and well-meaning as in the films of National Geographic, or openly confrontative as in


Sound Used in the Movies: Hou Hsiao-Hsien and Wong Kar-Wai’s Film Works

Hou Hsiao-Hsien and Wong Kar-Wai’s film work has always been full of controversial topics. Their filming technique often raise extensive discussion including the connotation of the script and the characters scored showing a special film language. This article analyzes the film text, using Hou Hsiao-Hsien’s Millennium Mambo and Wong Kar-Wai’s Chungking Express as the research