Search Results (21)

This study analyzes the award-winning documentary film Searching for Rodakis, directed by Kerem Soyyilmaz, produced in 2023. The aim of this study is the historic comprehension and analysis of this filmic narrative in the field of social–semiotic literacy and its utilization in historical studies for approaching issues of conflict in modern history, otherness, collective experience and trauma, and collective memory. The research material is the documentary Searching for Rodakis (produced by Denmark, Turkey 2023; screenplay/director, Kerem Soyyilmaz; duration, 57’), which received the following awards: Adana Golden Boll FF 2023 Turkey | Best Documentary, Thessaloniki International Doc. Festival 2023 Greece, Greek Film Festival Los Angeles 2023 USA, and Istanbul Documentary Days 2023 Turkey. As regards the historic context, the year of production, 2023, coincides with the 100th anniversary of the signing of the Treaty of Lausanne, where Turkey’s current borders were set and the “population exchange” legally sealed, i.e., the violent expulsion of 400,000 Muslims, citizens of Greece, many of whom spoke only Greek, and 200,000 Orthodox citizens of Turkey, who in the majority spoke Turkish. At the same time, the Treaty of Lausanne ratified and finalized the expulsion of approximately one million Orthodox who were forced to leave the Ottoman Empire, as well as 120,000 Muslims who had fled Greece since the beginning of the Balkan Wars (1912–1913). About two million people were deported and lost their citizenship and property, in the context of “national homogeneity” (which connotes an ethnic cleansing), with the official states ignoring the criticisms of lawyers and academics who spoke of violations of constitutional rights. Mohammedan Greeks, estimated at around 190,000 as early as 1914, based on ecclesiastical statistics in the Pontus region, did not receive attention from the provisions of the Treaty of Lausanne, even though linguistically and culturally (origin, customs, culture and traditions) they did not differ in any way from the Orthodox Greeks. In Turkey, there was general indifference to the thousands of desperate people who arrived, with the exception of a few academics and the Lausanne Exchange Foundation. The filmic scenario is as follows: as a Greek tombstone of unknown origin is discovered underneath the floorboards in an old village house in Turkey, an almost forgotten story from the country’s creation unravels—the forced population exchange between Greece and Turkey in 1923. The engraved Greek letters tell of a woman, Chrysoula Rodaki, who died in 1887. Thus the search for her descendants begins. It leads director Kerem Soyyilmaz to local archives, where his own family’s role in history is laid bare; to abandoned ghost towns, and through the memories of older villagers—all while Soyyilmaz meets massive support for his quest from Greeks on the other side of the border. The stone becomes a portal to the past—and for a while, the trauma becomes redeemed when the previous owners of the village house return. Searching for Rodakis is a movie that reconnects people, culture, and the stories that were discarded in order to build a strong, nationalist state—told through the director’s personal experiences. The research questions, as they arise from the cinematographic material itself, are as follows: How is the historical memory of traumatic events of the previous century, such as the exchange of populations according the Treaty of Lausanne, recorded in the cinematographic narrative? What are the historical sources? To what extent did the origin, ethnicity, and geographical location of the narrators as participants influence the preservation of historical memory and the historical research? What are the criteria of the approach of the creator, and what are the criteria of the participants? Methodologically, we apply historic and socio-semiotic analyses in the field of public and digital history. The results: The types of historical sources found in filmic public discourse include the oral narration of testimonies, of experiences and of memories, as well as the director’s historical research in state archives, the material cultural objects, and the director’s digital research. Thus, historic thematic categories occur, such as the specific persons and actions in Turkey/Greece, actions on-site and in online research, and the types of historical sources, such as oral testimonies, research in archives, and objects of material culture. Sub-themes such as childhood, localities and kinship also emerge. These cinematic recordings of biographical oral narratives as historical and sociological material help us understand the political ideologies of the specific period, between the years 1919 and 1923. The multimodal film material is analyzed to provide testimonies of oral and digital history; it is utilized to approach the historical reality of “otherness”, seeking dialogue in cross-border history in order to identify differences, but above all the historic and cultural similarities against sterile stereotypes. The historic era and the historic geography of the Greek and Turkish national histories concern us for research and teaching purposes a hundred years after the Treaty of Lausanne which set the official borders of the countries. Full article

In 1914, El Noticiero Sevillano and other Spanish newspapers published a piece about the Cinémhymen, a cinematographic device designed to capture and sell images of prospective wives. This article explores why this advertisement was not considered derogatory and examines the construction of a patriarchy during a time when the term “feminist” was already appearing in the Spanish press. In our methodology, we analyzed the name of the device and the business, both based on the word Hymen, used a bibliographic review of Spanish feminism of those years, and researched the film technology of the time. The Manzano’s pyramid of oppression served us in establishing the control operations underlying the advertisement. Our study reveals the patriarchal principles of Cinémhymen, which stigmatized women once they conformed to the expected role. The objectifying gaze present in Cinémhymen provides insight into the progression of patriarchy in a visual world that subjugates women. The camera could see through the female masquerade (as Joan Rivière explained) and explore the “true” body underneath, the very core of the female (or what is considered to be). In some ways, Cinémhymen serves as a precursor to the current subjugation seen in online pornography and represents a distorted evolution of the panopticon principle as applied to women. Full article

Distinctive for its pungent and oftentimes rotten odor, the thorny fruit of durian (Durio spp.) is considered a delicacy throughout Asia. Despite its burgeoning global recognition, durian remains a fruit of contradiction—desirable to some yet repulsive to others. Although regarded commonly as immobile, mute, and insentient, plants such as durian communicate within their own bodies, between the same and different species, and between themselves and other life forms. As individuals and collectives, plants develop modes of language—or phytodialects—that are specific to certain contexts. Focused on vegetal semiosis or sign processes, a phytosemiotic lens views plants as dynamic and expressive subjects positioned within lifeworlds. Absent from phytosemiotic theory, however, are the cultural sign processes that take place within and between plants—what I call cultural phytosemiotics. The framework I propose calls attention to the interlinked biological, ecological, and cultural dimensions of signification between plants and non-plants. From a phytosemiotic standpoint, this article examines historical, cinematographic, and literary narratives of durian. Reflecting the fruit’s divisive sensory effects, historical accounts of Durio by Niccolò de’ Conti, Jan Huyghen van Linschoten, Georg Eberhard Rumphius, and William Marsden alternate between praise and disdain. Moreover, films such as Fruit Chan’s Durian Durian (2000) and Anthony Chen’s Wet Season (2019) narrativize the polarities that similarly figure into historical depictions of the species. Literary narratives, including the poems “Durians” (2005) by Hsien Min Toh and “Hurling a Durian” (2013) by Sally Wen Mao, investigate the language of durian’s olfactory and gustatory sensations. Along a continuum between adoration to revulsion, durian embodies the otherness of vegetal being. In an era of rampant biodiversity loss, learning to embrace botanical difference should be a human imperative. Full article

The term “desolvation inability” is proposed in order to describe the alteration of the original chemical structure of a solute (“decomposition”) prior to the solvent’s full removal upon the heating of the solvate. This behavior has been sporadically reported; however, it is much more frequent, and it is the basis of various, seemingly unrelated, effects/processes, e.g., the vinegar syndrome of cellulose acetate cinematographic films, in thermal energy storage. An explanation and a criterion/index for the prediction of this behavior are provided based on the comparison of the Gibbs free energies of decomposition and desolvation. A new approach for the expression of the Gibbs free energy of desolvation is proposed by reversing the roles of the solute and solvent and by regarding water as the solute rather than as the solvent, while the solute is treated as a solid solvent. This approach results in lower solvation/desolvation Gibbs free energy values. Based on the above, the experimentally observed thermal behavior of three inorganic hydrates is predicted and explained. Theoretically and experimentally, it is supported that decomposition is possible at sub-zero (°C) temperatures and the regarded simultaneous drying and protection of heat-sensitive substances by freeze-drying, at least in some cases, e.g., for the case of gallic acid, is an unverified myth. Full article

This research extensively discusses the connection between destination image and films influencing tourism. Despite the worldwide fame of the James Bond saga and extensive publications on the subject, research into the role of tourism promotion in the image of destinations is still scarce, and there is no specific focus on analysing promotional aspects in relation to film-induced tourism. This study focuses on the influence of cinematographic images on the destination image perception and promotion, specifically exploring the case of the James Bond saga as a practical case. With 25 films released since 1962, the James Bond saga provides a basis for evaluating cinematic presence in tourism promotion strategies. This research proposes the content analysis of the official tourist websites of 23 destinations where the James Bond saga was shot, which offer some tourist products linked to the saga. The key findings provide valuable insights into the promotion of James Bond saga tourism destinations, the role of films in promoting destinations, and the tourism products developed from the saga films. The results provide visual outputs about the target image of the film shooting locations, and the text analysis provides keywords linked to the theme. The study’s methodology contributes to the discourse on film tourism and destination image topics and brings practical and theoretical contributions to both academia and destination managers. Full article

Film remakes represent a form of cinematic translation that reconstructs various elements of the original text. This article relies on the translation strategies of domestication and foreignization to analyze “Āṣḥāb Wālā Āʿāz”, the Arabic remake of the Italian film “Perfetti Sconosciuti” or “Perfect Strangers”. This study shows that the Arabic remake, which sparked controversy across the Middle East, replicates many of the syntactic elements of the original film, such as the narrative and the plot structure, as well as cinematographic and paralinguistic elements. Still, it attempts to adopt a transformative approach in order to generate a cultural production. The result shows that the use of domestication in film remakes alters the rhetorical effect of the original version and that, although foreignization may promote an audience’s interest in foreign cultures, it may contribute to the reproduction of otherness due to the dissatisfaction of the targeted audiences. Full article

Microbiological contamination of cinematographic films can cause damage and loss of image information. A large part of the films is made with the base of cellulose triacetate, which has been used from the 1940s until today. Cellulose triacetate is relatively resistant to common organic solvents, but some types of microorganisms can contribute to its faster degradation. In this work, we tested four types of disinfectants suitable for mass disinfection and sufficiently effective against various types of microorganisms. Butanol vapours, a commercial mixture of alcohols (Bacillol^® AF), Septonex^® (an aqueous solution of [1-(ethoxycarbonyl)pentadecyl] trimethylammonium bromide) and ethylene oxide applied as a gas mixed with carbon dioxide were tested. Samples of a commercial film made of cellulose triacetate were disinfected. The samples were aged for 56 days at 70 °C and 55% RH. Changes in optical, mechanical and chemical properties were studied. None of the disinfectants affected the change in the degree of substitution. For samples disinfected with Bacillol^® AF (alcohol mixture), part of the plasticiser (triphenyl phosphate) was extracted and the intrinsic viscosity of the cellulose triacetate solution was reduced after ageing. A slight decrease in intrinsic viscosity also occurred after disinfection with ethylene oxide. Compared to the non-disinfected samples, butanol vapours and Septonex^® appear to be the most gentle disinfectants for the cellulose triacetate film base, within the studied parameters. Full article

Animals have fundamentally contributed to the development and growth of different cinematographic and audiovisual activities. As established in article 13 of the Treaty on the Functioning of the European Union (TFEU), the basic text that establishes the objectives of the EU and from which the regulations or directives emanate, animal welfare is protected for the good of the general interest and therefore, must be taken into account when developing different European Union policies, especially those that may affect the internal market. This work aims to analyze each of the European regulations on animal protection and welfare to subsequently focus on each of the animal protection codes of the different countries of the union, trying to determine those premises related to the protection or the welfare of the animals that participate in these types of activities. We also wanted to make a brief comparison with countries such as the United Kingdom (UK) or the United States of America (USA), which are highly relevant to this topic. As a result of this analysis, the absence of standardized norms in the European Union has been revealed; however, in the UK and the USA, specific laws related to animal use in film media exist. Therefore, to develop new standards that guarantee the protection of animals in audiovisual productions in the EU are necessary, and these standards could also be expanded to other sectors or activities related to working animals. Full article

Since 1895, through the analog and the digital eras, color is among the many narrative and aesthetic tools cinema language used in its creative process to shape a unique, multi-sensorial experience for its audience. Over these 120+ years, endless cinema color techniques, technologies, aesthetics, and ideologies came and went. One thing that stayed the same is that color in cinema, more than a technology, is a complex system made up by many components: filmmakers’ ideas and intent, negotiations with the audience, technologies (such as film stocks, chemicals, cameras, printers, developing machines, projectors), and laboratory processes and practices. Taken individually, none of these elements tells the whole story of color use and experience in cinematographic works. This complexity adds to the fact that much of film color technology history is not recorded in books, journals and patents and is often forgotten as so much of it relies on individuals’ practices and memories. Consequently, a novel and more comprehensive theoretical and methodological approach is needed in order to make it possible to preserve and restore cinema colors, that is, to faithfully recreate their original chromatic effects in a modern, completely different environment. Full article

Cinematographic shot classification assigns a category to each shot either on the basis of the field size or on the movement performed by the camera. In this work, we focus on the camera field of view, which is determined by the portion of the subject and of the environment shown in the field of view of the camera. The automation of this task can help freelancers and studios belonging to the visual creative field in their daily activities. In our study, we took into account eight classes of film shots: long shot, medium shot, full figure, american shot, half figure, half torso, close up and extreme close up. The cinematographic shot classification is a complex task, so we combined state-of-the-art techniques to deal with it. Specifically, we finetuned three separated VGG-16 models and combined their predictions in order to obtain better performances by exploiting the stacking learning technique. Experimental results demonstrate the effectiveness of the proposed approach in performing the classification task with good accuracy. Our method was able to achieve 77% accuracy without relying on data augmentation techniques. We also evaluated our approach in terms of f1 score, precision, and recall and we showed confusion matrices to show that most of our misclassified samples belonged to a neighboring class. Full article

The writer and director Lucía Puenzo expresses herself in two different languages: literary prose and cinematographic narrative. Her work is characterised by a single ethical and aesthetic commitment. She highlights sensitive contemporary issues such as identity, gender, sexuality, marginality and the family, but also ethical concerns around eugenics, migration, exclusion and dangerous social elements. The paper looks at the differences between the novels XXY, El niño pez (The Fish Child) and Wakolda (The German Doctor) and their corresponding films, highlighting Puenzo’s stylistic and aesthetic constants. The notion of identity, the notion of family and different historical perspectives and their representations are analysed in her literary works and their subsequent adaptations in films. A comparative analysis of the literary and film texts help us to see how plotlines have been transposed, observing the differences and the reasons for these differences. She keeps her two creative sides separate and makes significant changes as she adapts the literary original to the film script. Her audiovisual approach is to reduce the plotlines and issues shown in the originals. The value of Puenzo’s artistic production is making visible characters who are on the edges or are socially marginalised, favouring their acceptance and integration in the society. Full article

In this work, a system consisting of two resistive sensors working in tandem to detect and quantify the acetic acid released during the degradation of cellulose acetate-based ancient cinematographic and photographic films is presented. Acetic acid must be constantly monitored to prevent reaching concentrations at which autocatalytic degradation processes begin. The sensors are constituted by a thin layer of metal oxide (tungsten oxide and tin oxide) deposited over an interdigitated electrode capable of being heated, chosen to maximize the array response towards acetic acid vapors. The signals obtained from the sensor array are mathematically processed to reduce the background signal due to interferent gases produced during degradation of ancient cinematographic films. The sensor array reported a LOD of 30 ppb for acetic acid, with a linearity range up to 30 ppm. Finally, the sensor array was tested with different cinematographic and photographic film samples made of cellulose acetate, whose degradation state and acetic acid production was validated using the conventional technique (A-D strips). The presented array is suitable for remote monitoring large number of films in collections since, compared to the official technique, it has a lower detection limit (30 ppb vs. 500 ppb) and is much quicker in providing accurate acetic acid concentration in the film boxes (15 min vs. 24 h). Full article

The biodeterioration of audio–visual materials is a huge problem, as it can cause incalculable losses. To preserve these cultural heritage objects for future generations, it is necessary to determine the main agents of biodeterioration. This study focuses on identifying fungi, both from the air and smears from photographs and cinematographic films that differ in the type of carrier and binder, using high-throughput sequencing approaches. The alpha diversity measures of communities present on all types of carriers were compared, and a significant difference between cellulose acetate and baryta paper was observed. Next, the locality, type of carrier, and audio–visual material seem to affect the structure of fungal communities. Additionally, a link between the occurrence of the most abundant classes and species on audio–visual materials and air contamination in the archives was proven. In both cases, the most abundant classes were Agariomycetes, Dothideomycetes, and Eurotiomycetes, and approximately half of the 50 most abundant species detected on the audio–visual materials and in the air were identical. Full article

The COVID-19 pandemic has roused the apocalyptic fear that was foreseen in religious prophecies. This research will focus on the post-9/11 and pre-COVID-19 disaster films, in an attempt to understand the representation and pre-presentation of the collective disaster psychology. Aligned with Jungian film studies, this essay regards films as a convergence of generations’ collective unconscious. Apocalypse may as well be considered the psychic archetypes that emerge in our civilization in the name of religion. This essay aims to construe the ways that apocalyptic archetypes appear and are elaborated in contemporary films, in hope of recognizing the new apocalyptic aesthetics formed in the interval between the two disastrous events. Consistent with the meaning in classic doomsday narratives, the archetypal symbols in these films are found to have carried a dual connotation of destruction and rebirth. Through empirical cinematographic style, these archetypal images are revealed in an immersive way. Disaster films from this time place emphasis on death itself, fiercely protesting against the stagnation of life, and in turn triggering a transcendental transformation of the psyche. Unlike those in the late 1990s, viewing the doomsday crisis through the lens of spectacularity, disaster in these films is seen as a state of body and mind, and death a thought-provoking life experience. Full article

Understanding how acting bridges the emotional bond between spectators and films is essential to depict how humans interact with this rapidly growing digital medium. In recent decades, the research community made promising progress in developing facial expression recognition (FER) methods. However, no emphasis has been put in cinematographic content, which is complex by nature due to the visual techniques used to convey the desired emotions. Our work represents a step towards emotion identification in cinema through facial expressions’ analysis. We presented a comprehensive overview of the most relevant datasets used for FER, highlighting problems caused by their heterogeneity and to the inexistence of a universal model of emotions. Built upon this understanding, we evaluated these datasets with a standard image classification models to analyze the feasibility of using facial expressions to determine the emotional charge of a film. To cope with the problem of lack of datasets for the scope under analysis, we demonstrated the feasibility of using a generic dataset for the training process and propose a new way to look at emotions by creating clusters of emotions based on the evidence obtained in the experiments. Full article