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The Application of Psychoanalytic Theory in Films, Based on the Movie Fanfan

The relationship between psychoanalytic theory and film is very close, open and integrated with each other. The psychoanalytic study of film is an important part of the study of contemporary western film theory. Through the mastery of psychoanalytic theory and the analysis of the film Fanfan starring Sophie Marceau, this paper proves the application and role of psychoanalysis in film.

Diachronic differences and cultural universals as an elements of discussing movies: Selected reviews in pragmalinguistic perspective

The material basis of the text is Zygmunt Kałużyński’s reviews anthology called Royal Cannon. His 50 Favourite Movies, which consists texts that were published by the critic in Polityka weekly, from 1957, when it was established, until 2001. Reviews were therefore created throughout 44 years, full of changes in culture, worldwide and domestic cinematography, and film genology. Because of the political and social reality of those days, Polish premieres of western film productions were often significantly belated in comparison to Western Europe countries.The direct matter of interest are lexical determinants of two antonymous semantic categories. These are: 1. Diachronic differences in the scope of the same culture group or between different groups motivated by chronology.2. Cultural–social universals.In case of both distinguished groups, the movie critic may play an important role as an intermediary role in the movies’ reception.

Wang Bing's Filmmaking of the China Dream

This volume offers an organic discussion of Wang Bing's filmmaking across China's marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang's work has contemporary China as its focus and testifies to the country's contradictions, not dissimilar to those of contemporary societies dealing with issues of inequality, labour, and migration. Without being an activist, Wang Bing gives voice to the subaltern. His internationally awarded documentaries are recognized as world masterpieces. His unique aesthetics bears references to film masters, therefore this investigation goes beyond the divide between Western and non-Western film traditions. Each chapter takes a different articulation of space (spaces of labour, spaces of history, spaces of memory) as its entry point bringing together film and documentary studies, Chinese studies, and studies in globalization issues. This volume benefits from the author's extensive conversation with Wang Bing and from insider's observations of film production and the film festival circuit.

Shooting Stars: Heroes and Heroines of Western Film

Men in boots: on spectacular masculinity and its desublimation.

The proposed essay focuses on a piece of costume that is often both dirty and worn out: the man’s leather boot. The boot has been a constant in cinema, appearing first in Westerns films made at the beginning of the 20th century. As an iconic piece of male costume, the boot has populated male-oriented genres, signaling either masculinity en masse (as in war films), or a kind of masculinity closer to nature and to animals than to civilization (as in the Western film). Departing from earlier scholarship on masculinity as spectacle (e.g. Tasker; Holmlund), and engaging in textual analysis, this essay investigates how the boot, as a hyper male piece of costume, can be read as a masquerading prop, and as a tool for hiding (what is not there). Films to be analyzed include Lives of A Bengal Lancer (Henry Hathaway, 1935); Picnic (Joshua Logan, 1955); Midnight Cowboy (Johan Schlesinger, 1969); and Blaze (Ron Shelton, 1989).

Eastern Approaches to Western Film: Asian Reception and Aesthetics in Cinema by Stephen Teo

Cultural difference: ancient china in western film mulan (1998), eastern approaches to western film: asian reception and aesthetics in cinema, stephen teo (2019).

Review of: Eastern Approaches to Western Film: Asian Reception and Aesthetics in Cinema, Stephen Teo (2019) London: Bloomsbury Academic, 285pp., ISBN: 9781784539825 (hbk), $115.00, ISBN: 9781350113312 (epdf), $35.95, ISBN: 9781350113305 (ebk), $35.95

Intermedial Translation as Circulation

Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and filmmakers. The films resulting from these collaborations repositioned Taiwan as a multilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan.

An Reinterpretation of Western Film－Focusing on Jacques Audiard"s The Sisters Brothers

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Film Genres

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Defining the western

An enduring film genre with worldwide popularity whose classic setting is the period of the winning and settling of the US western frontier between around 1865 and 1890. Mixing history and archetype, stories are typically told from the standpoint of the settlers, with key themes including cattle drives and cowboys, the building of railroads, farmsteading, Indian wars, and the rule of the settlers’ law. The Great Train Robbery (Edwin S. Porter, US, 1903) is widely, though not without dispute, credited as the earliest western. By the 1910s the cowboy picture was recognized by both exhibitors and audiences as a distinctive type of film, and in the US hundreds of ‘horse operas’ (among them Cecil B. DeMille’s The Squaw Man (1913)) were made during the silent cinema years. ...

Kuhn, A., & Westwell, G. (2020).  western . In  A Dictionary of Film Studies . Oxford University Press. Retrieved 18 Aug. 2021

Finding library resources for westerns

To find westerns in the Library's collections, you can click on one of the subject headings below:

• western films The call number range for Westerns is PN 1995.9 .W4 on Baker Level 4 .
• spaghetti westerns
• west (u. s.) in motion pictures

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Articles and other writings about westerns can be found in many publications. We don't have journals that look exclusively at westerns . However, you can use Film & Television Literature Index to find relevant articles .

A Selected list of westerns

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The Concept Of" Self" and The" Other" in Western Movies

2004, k@ ta

Melodrama has been a part of the American life since colonial time. This genre, with its 'hero-villain' or 'black and white' development of characters, has formed the idea of the American heroes. In Western films, in which the 'local' themes of westward movement on the American society are developed, melodrama treats the dichotomy of hero-villain more stereotypically. The heroes depict the concept of the American 'self' and the villains picture the 'other.' However, the development of Western film shows that the stereotypical treatment on 'self' and the 'other' undergoes some changes.

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Alternative Worlds

This chapter analyzes two recent popular Westerns, Andrew Dominik's The Assassination of Jesse James by the Coward Robert Ford (2007) and Tommy Lee Jones's The Three Burials of Melquiades Estrada (2005). In these films, the Western myth is replaced by a new myth, the 'American Dream', in which the lone legend is re-cast as family man and breadwinner. The old American frontier, as well, assumes a new dimension, moving from a utopian 'frontier' understood as the symbol of discovery, exploration, and Manifest Destiny, to a dystopian and defensive vision of a national border that must be protected against 'illegals'. The chapter argues that Westerns, in offering themselves as alternative worlds to 2 American modernity, show that myths are difficult to let go of, particularly if the myth that replaces them is as inexpressibly dreary as the American Dream. Classic Westerns are America's most enduring mythical genre. Like all good myths, they show us an alternative world, 'a heroically decent America,' 1 a world whose cowboys and gunslingers, sheriffs and bandits, prospectors and ranchers inhabit 'a masculine world where men were men and women-on the rare occasions they appeared-seemed to like it that way.' 2 Common consensus has declared this world to be either one of the pasta time of lawlessness, chaos, racism and the genocide of native Americans 3-or mythical fiction-the time of Manifest Destiny, rugged individualism, romantic rides into stunning sunsets, and apolitical fireside chats. 4 Neither its association with the past nor its reputation for peddling sentimental myths have particularly endeared the Western to scholars and critics. In fact, the Western has become saddled, as it were, with a reputation for being the most backward, traditional and un-modern of all film genres. For over 30 years now, scholars have agreed that the Western is a genre in decline, one that can only survive as self-parody or in 'revisionist' form, 5 and one unable to compete in terms of quality with more sophisticated genres. Several critics have pointed out that very few Westerns have ever won

Jurnal Humaniora, 2012

Individualisme dianggap merupakan inti budaya Amerika. Individualisme dalam arti penekanan terhadap kemampuan diri sendiri di atas kelompok atau negara telah banyak dibahas dan didramatisasikan oleh banyak penulis dari masa awal sejarah negara Amerika dan dalam film laga Amerika individualisme tercermin dalam citra-citra verbal maupun non-verbal dari penggambaran sifat tokoh hero dalam melawan tokoh jahat. Akan tetapi, individualisme dan kepercayaan pada kemampuan sendiri sering memunculkan sikap terlalu percaya diri dan ingin menang sendiri. Dalam hubungan ini, seorang hero dalam film selalu digambarkan sebagai sosok penyendiri, seorang individu yang berseberangan dengan masyarakat. Hal itu tidak berarti bahwa individu dan masyarakat adalah dua entitas yang benar-benar terpisah karena setiap individu adalah produk kondisi sosial. Konflik antara individu dan masyarakat lebih disebabkan oleh perbedaan karakter dan pola antara keduanya. Individu membutuhkan kebebasan untuk mempertahankan identitasnya, sedangkan masyarakat memerlukan kerelaan individu untuk menyerahkan sebagian kebebasannya demi tegaknya keteraturan bersama. Dari karakterisasi, narasi, dan tema yang disajikan dalam film film laga dapat disimpulkan bahwa penggambaran sosok hero yang soliter dalam film-film laga lebih merupakan romantisme yang hidup dalam kenangan bawah sadar orang Amerika terhadap kehidupan ideal seorang hero yang individualis yang memitoskan kembali individualisme yang tidak lekang oleh waktu.

Acta Neophilologica, 2017

This essay examines representative stories of the American Western genre in both film and literature in light of various literary influences, including The Bible and classical epics such as Gilgamesh, The Iliad, and The Odyssey. These stories relate the dynamic tensions of characters caught between righteous and unrighteous anger, between home and longing for the road, and between the imperative to survive and the impulse to sacrifice oneself for others.

Index Comunicación, 2016

Hollywood has played a decisive role in shaping the recent and short history of its founding country, the United States. This paper aims at exploring the representation of peoples outside the Western standard in Hollywood movies to spot recurrences in portraying Others, especially in vilifying terms. The analysis of plots and characters in American movies in different historical stages reveal not only consistent patterns in the depiction of Otherness, but also an even more interesting need to define and reaffirm the Self through the opposition to changing Others that mainly depend on the historical and political period occurring.

Novo Jornal, edição 845, 2024

A text/essay, where I analyze Local Power and Local Authority, the differences between them and how both "cause" a fear in political Power, mainly, if this political Power is autocratic and, or, dictatorial... _______________________________________________________________ Um texto/ensaio, onde faço uma análise sobre o Poder local e a Autarquia local, as diferenças entre si e como ambas "provocam" um receio no Poder político, principalmente, se este Poder político é autocrático e, ou, ditatorial...

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Los edificios griegos eran construidos a la medida del hombre, concebidos para ser admirados desde el exterior, dándole mayor importancia a los exteriores que a los interiores. Los griegos siempre se esmeraron en los edificios públicos, dándole poca importancia al hogar, siendo los templos y santuarios los edificios más construidos. Sus carateristicas principales son: ▲ La columna es el elemento principal, considerada como un elemento imprescindible de la estética de su arte. Los tipos de columnas son:-Orden Dórico: es la más sencilla de todas, no tiene base, el fuste tiene estrías de cantos vivos, y al pie del fuste encontramos el collarino y su capitel está compuesto por dos partes: ábaco y equino. Es un estilo liso sin decoración.-Orden Jónico : tienen un estilo más esterilizado y el fuste tiene cantos planos. El capitel representa el peinado de una mujer y formado por tres partes : el abaco, el equino y las volutas. En este estilo se encuentran más elementos decorativos.-Orden Corintio :es muy parecido al jónico, solo se diferencian en el capitel de la columna, no es muy utilizado por los griegos, por el hecho de que surgió en la época helenística, pero si será muy utilizado por los romanos. ▲ La arquitectura griega es fundamentalmente adentellada, dominando las líneas rectas, tanto horizontales como verticales, no usan la bóveda. ▲ Es monumental sin llegar a ser colosal como Egipto. ▲ Tiene un estilo arquitectónico muy equilibrado, todo está hecho con una medida, un canon. ▲ Es una arquitectura con una gran perfección y armonía, convirtiéndola en bella. ▲ Sus construcciones llevan siempre elementos decorativos, como cenefas, rosetas, ovas, perlas

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American Cultural Values in Western Films Research Paper

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