Search Results (60)

In the 1930s and 1940s, Kumbum Monastery (Tibetan: sku’ bum byams pa gling) emerged as a significant spatial node in visual culture during the period of war and modern nation-building in the Republic of China (1912–1949). Through photography, painting, and film, a diverse range of visual media depicted the monastery’s architectural layout, inscribed plaques and steles, Cham dance (Tibetan: འཆམ་, Wylie: ’cham) rituals, lamaic prayers, and scenes of temple fairs and marketplaces. These visual representations not only documented historical detail but also constructed a composite space in which sacredness, transcendence, and secularity intersected. Due to its unique geographical location, religious doctrines, historical narratives, and political entanglements, Kumbum functioned as both a spiritual center and a politically charged symbol. Within this visual discourse, cham rituals and collective prayers were imbued with wartime ideological meanings, aligning religious transcendence with the national aspiration for resistance and victory. The inscribed plaques by state officials visually asserted political authority over sacred religious spaces, while the depiction of temple fairs foregrounded the entanglement of religious practices with everyday secular life, becoming key arenas for ethnic integration and political mobilization. Artists and photographers actively engaged with and reproduced both the symbolic and the quotidian landscapes of the monastery. These visual materials contributed to the broader project of narrating the Republic’s frontier and constructing the nation’s image. By examining how both monastic actors and external observers visually constructed Kumbum Monastery’s political and spiritual space, this study illuminates the complex interplay between religion and state power, and shows how visual media articulated ideological meanings and negotiated spatial relationships as collective responses to the site within the conditions of modernity. Full article

Cinematic representations of mental health operate at the intersection of science, culture and visual meaning, while medical academic discourse plays an important role in shaping how such representations are conceptualized. This study examines how the PubMed-indexed literature (2010–2025) engages with mental health in relation to narrative film and related screen media, combining bibliometric mapping with interpretive analysis. Through a structured PubMed query and VOSviewer co-occurrence analysis, this study identifies 5292 unique terms, of which 530 meet the minimum frequency threshold. Comparison between low- and high-frequency maps reveals a shift from lexical diversity to a consolidated biomedical core centered on classification, diagnosis and measurable affect. Six clusters are identified (neuro-affective, educational stigma, media–behavioral, neuropharmacological–technological, perceptual–emotional and pandemic-related), which together structure the field’s dominant semantic orientations. The findings indicate three main patterns: the predominance of standardized biomedical language, the limited visibility of intersectional categories (e.g., gender, race, identity) at the level of indexed metadata, and a gap between visual processes and narrative meaning. While individual studies often engage with cinematic complexity, this dimension is only partially reflected in the dominant lexical structure. Building on these results, a cluster-informed conceptual framework for film-based medical education is proposed, in which narrative film can support complementary forms of clinical, social and interpretive learning. This study contributes to the field of Medical Humanities by demonstrating that medical discourse not only reflects but also structures the visibility of mental health in relation to screen media, while highlighting the need for more integrated approaches that connect biomedical knowledge with narrative and cultural understanding. Full article

Nacer Khemir’s Bab’Aziz (2005) treats the dervish cloak (khirqa) as more than costume: a site where ascetic practice contests fashion’s novelty-driven logic. Focusing on the narrative shift from the Prince’s conspicuous consumption of silk to the dervish’s adoption of rough wool, this article argues that the film visualizes an “anti-fashion” stance rooted in Sufi discourses. In this cinematic setting, the khirqa functions as a kind of haptic archive—a tactile record of transmission and wear—through which spiritual lineage, authority, and continuity become legible. Bringing Ibn ʿArabī into dialogue with film theory’s concept of haptic visuality, the study shows how the cloak operates as a primary cinematic signifier of sartorial regulation, where disciplined appearance is figured as ethical formation rather than fashion trend. Bridging history, sociology, and material culture studies, the article suggests that the khirqa endures as a transhistorical emblem mediating spiritual identity across changing spatiotemporal contexts. Full article

This article examines how the discourse of “for your own good” functions as a moral framework through which parental violence is reinterpreted as care in Sinophone family cinema. Focusing on family-centered films as a key site of representation, we analyze how reconciliation is constructed not merely as a narrative resolution but as an ethical expectation. Drawing on theoretical perspectives from Michel Foucault and Louis Althusser, we develop the concept of “moralized parental violence” to describe how authority, discipline, and emotional control are legitimized through moral discourse. Through a typological analysis, identify three recurring models of reconciliation: deathbed reconciliation, retrospective understanding, and silent reconciliation. The study further explores works that resist reconciliation, arguing that such narratives suspend ethical closure and challenge normative expectations of forgiveness. By examining narrative structure, visual emphasis, and affective strategies, we demonstrate how cultural texts guide audience responses and shape moral interpretation. Rather than rejecting family values, this study reconsiders how ethics, power, and care are intertwined in cultural narratives and how the refusal of reconciliation opens a critical space for rethinking the limits of moral obligation. Full article

This article examines the assumed dichotomy between the Black church and the juke joint within African American cultural discourse. Often portrayed as moral opposites—one sacred and the other secular—this study argues that such a binary reflects a Eurocentric interpretive framework rather than the actual historical realities of Black communal life. Through cultural and historical analysis, the article asserts that both institutions originated from similar conditions of racial exclusion and served as complementary spaces that nurtured African American identity, resilience, and community connections. Using the film Sinners as a key cultural text, the study explores how contemporary media narratives complicate rigid distinctions between sacred and secular Black spaces, identities, music, and spirituality. The character Sammie illustrates the permeability between these spaces, embodying a cultural logic where spiritual refuge and expressive release coexist. The analysis places this view within the African philosophical concept of Ubuntu, which emphasizes relational identity and the inseparability and oneness of the Black community. Drawing on the scholarship of James H. Cone, the article also shows that spirituals and blues share roots in African diasporic musical traditions. These traditions demonstrate the deep interconnection between religious and secular forms of Black expression. Ultimately, the study concludes that the Black church and the juke joint should be understood not as opposing institutions but as interconnected cultural spaces that collectively sustain African American spiritual, social, and artistic life. Full article

The image of the journalist in popular culture has increasingly added value to metajournalistic discourse. These portrayals have the power to influence the audience’s perception of real-world journalists and the industry. However, most research analyzes portrayals in film and television. Using Terry Pratchett’s fantasy novel “The Truth,” this study explored how journalism, the media industry, and the journalist are portrayed in fantasy literature. Through a textual analysis of the novel, it was found that the work was a celebratory portrayal of journalism that shared a variety of themes found in film and television portrayals. Though its ethics were challenged throughout the novel, the Ankh-Morpork Times was devoted to the truth, served the watchdog role, and practiced social responsibility. Additionally, the novel’s historical rendition of the penny press highlighted the competitiveness of the media industry, how the public interest was challenged by political and corporate influence, and offered a portrayal of naïve news consumers. Lastly, it was found that William de Worde portrayed an ethical journalist and followed the common investigative journalist trope, but his character strayed from the usual editor, publisher, and male reporter tropes found in film and television. This study also suggests the possibility of looking at negative portrayals of journalism in fiction as a series of critical incidents in which journalism has difficulty fully repairing its paradigm. Full article

Religious symbols and figures are gaining new life in popular culture. Reinterpretations of symbols rooted in the visual arts tradition are appearing in film, TV series and short audiovisual forms presented on the Internet, especially on social media. This also applies to angels, to which the author’s research would be devoted. This article discusses images of “secular angels”, decontextualized religious symbols, popularized throughout the 20th and 21st centuries in the visual media of Western culture. From the rich research material, the most characteristic images are selected for discussion and interpretation and subjected to interpretation in the spirit of discourse analysis. The images of modern “angels” in the texts of popular culture refer not so much to their biblical prototypes, but to the moral condition of man in consumerist, individualistic societies focused on living for pleasure. Film, TV series and Internet images of “angels” also show the controversies and social problems (such as racism) faced by contemporary Western societies. Full article

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

This text explores the life and legacy of Sergei Kuriokhin, a multifaceted artist who profoundly impacted Soviet and post-Soviet culture. Known for his radical experimentation in music, theater, and film, Kuriokhin defied conventional genres through his groundbreaking project, ‘Pop Mechanics’, which blended jazz, classical music, rock, circus acts, and more. His provocative performances often included surreal elements and bizarre satire, challenging cultural norms and the boundaries of Soviet censorship. Kuriokhin’s influence extended into politics, where his satirical “Lenin was a Mushroom” program questioned historical and ideological narratives, stirring public debate. His charisma, intellectual depth, and penchant for the absurd made him a central figure in Leningrad’s avant-garde scene. Kuriokhin collaborated with prominent artists and philosophers, leaving an indelible mark on Russian art and political discourse. This work, presented through the reflections of his close associates, offers insights into his lasting impact on Russian culture, blending history with personal mythologies. Full article

What are the political, gender, and theological implications at stake when associating Jesus with modern combat and righteous violence? Jesus is rendered in combative form across media—i.e., live-action films and shorts, animated television, sketch comedy, graphic novels, and video games. This rendition occurs at a confluence of meaning, most immediately for the sake of generating comedy through juxtaposition (in this case, rendering the meek with a sword) and/or reaffirming Jesus’ prominent cultural value through an association with other popularly mediatized entities. Beyond these initial layers of significance, however, I argue that Jesus becomes associated with violence and brutality for the sake of de/legitimizing politically conservative ideologies with respect to Christianity and American exceptionalism, redeeming the crisis of “domesticated masculinity” and fortifying traditional masculine norms, and theologically reinstituting popular paradigms of low Christology. Ideological “manhood” remains traced to one’s ability to perform traditional gender roles (i.e., family provider, community protector, and father/procreator). To capture the discrepancy that Jesus of Nazareth, as presented in canonical gospels, largely concerns none of these roles, I analyze the hypermasculine Christ, and the various weapons he employs, as part of a popular genealogy of Western value systems and discourse. Though in this article I reference some examples of non-American media, I reserve my analysis and commentary for the stakes and implications of what it means for U.S. Americans to produce and consume such content. In short, I submit that popular America idolizes itself in the form—one amidst many—of a naïve, combative, and boorish Christ: an arrogant and, at times, narcissistic man with delusional views of the world made dangerous through invasive power and authority. Western entertainment has deemed the United States (through its fictional stand-ins) as morally failing yet still chosen. Within this logic, American Christians need not reform their ways as long as they cultivate evidence of their exceptionalism. Full article

Although meditating on death has long been a central philosophical practice and is gaining prominence in modern European public discourse, certain misconceptions still persist. The Austrian filmmaker Michael Haneke does not shy away from confronting real and performed images of death, combining a denouncing cinematic approach with no less polemic aesthetic and ethical theories. Certainly, visually shocking and disturbing films can, in their own way, challenge the boundaries of what is thinkable, at times even touching upon the unthinkable. Images of death and death-related themes are particularly pervasive in Haneke’s films. His films raise significant philosophical and ethical questions about mortality, violence, death, and ageing. This analysis is a tentative attempt to map how Haneke explores representations of death and dying in Benny’s Video (1992) and Funny Games (1997), with particular reference to the rewind gesture depicted in both films. In doing so, it aims to examine the conversation such films prompt between moving images and the audience. Full article

Alfred Hitchcock, the master of suspense, is renowned for his unique cinematic style and profound insights into the complexity of human nature. Among the various female characters in his films, the mother figure holds a particularly significant place. This article proposes the concept of “maternal emptiness” to describe the predicament of the mother figures in Hitchcock’s films, where they are often depicted as distorted, dark, and somewhat lacking in maternal essence. Drawing on psychoanalytic and feminist film theories, especially the works of Jacques Lacan, Julia Kristeva, and Laura Mulvey, this study aims to deconstruct Hitchcockian “maternal emptiness” and explore its deep-rooted causes. Through a systematic examination of the mother figures in Hitchcock’s filmography, this article identifies the following three main categories: the mother roles of blonde women, the mother roles of female protagonists, and the mother roles of male protagonists. Close textual analysis reveals that these mother figures, despite their apparent diversity, share a common plight—a deviation from the maternal essence of love, care, and nourishment. This “maternal emptiness” is further traced back to Hitchcock’s childhood traumas, the patriarchal ideology in the cultural context, and the changing status of motherhood in modern society. By engaging critically with existing Hitchcock scholarship, including the works of Tania Modleski, Paul Gordon, and Slavoj Žižek, this study situates the concept of “maternal emptiness” within the broader discussions of motherhood in cinema. It explores how Hitchcock’s representation of mothers both reflects and challenges contemporary understandings of maternity. Furthermore, this study examines the enduring influence of Hitchcock’s maternal representations on contemporary cinema, analyzing films such as Darren Aronofsky’s “Mother!” (2017) and Ari Aster’s “Hereditary” (2018) to demonstrate the ongoing relevance of “maternal emptiness” in modern film discourse. The study concludes by considering the legacy of Hitchcock’s maternal representations in contemporary cinema, demonstrating the ongoing relevance of the concept of “maternal emptiness” in film analysis and its potential for reimagining maternal subjectivity in cinematic representation. Full article

The production of suspense thriller films has recently surged in Taiwan. These films adopt narrative techniques and visual aesthetics reminiscent of classic and neo-noir Hollywood cinema but also address social issues in Taiwan and represent transcultural aesthetic appropriation of film noir. This article employs a case study approach to examine the narrative and visual style of the Taiwanese suspense thriller Who Killed Cock Robin (2017), using film narratology as a textual analytical framework. This study considers themes, characters, visual style, and narrative structures, focusing on fundamental characteristics of classic film noir and neo-noir. This study reveals that the selected film both appropriates and deviates from the aesthetics of Hollywood film noir. It effectively incorporates aesthetic elements from classic Hollywood film noir and neo-noir, enriching the intricacies of storytelling and character depiction, while also localizing them through complex narrative strategies and nuanced Taiwanese cultural and social elements. The film brings attention to several prevalent issues in Taiwan’s media landscape, including truth manipulation, sensationalism, tabloidization, and conglomerate and political control. The film portrays Yi-Chi as a morally compromised character embodying the detective archetype with classic noir traits, while also reflecting the “Eastern mentality” in Taiwan journalism. Despite his moral compromises, Yi-Chi partly retains traditional virtues, presenting a nuanced view of human nature that blends pessimism and optimism in Taiwan. This approach creates a distinct cross-cultural narrative that resonates emotionally with Taiwanese audiences, while also contributing to the broader global cinematic discourse on film noir. 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

The question of aesthetics in film-theoretical discourse today is split between, on the one hand, a film-phenomenological or “filmosophical” approach that values the putatively immanent relation between film and the mind and, on the other, the naturalizing epistemology of post-theory, which reduces the question of film aesthetics to one of poetics. What unites these otherwise disparate projects is the consideration of aesthetics divorced from the question of politics; in both cases, the social or political significance of the film–spectator relationship has been summarily purged. In this article, I will offer an alternative account of film aesthetics that draws on Jacques Rancière’s theory concerning the mutually determining relationship between aesthetics and politics. In particular, I will consider the relevance of Rancière’s thesis concerning what he calls the distribution of sensible to current accounts, as well as taking up his novel consideration of aesthetic distance and the “emancipated” spectator. With respect to film phenomenology, I will examine how its film-theoretical program rests on the flawed concept of a de-politicized spectator enchained by the film image. With respect to post-theory, I will examine how its appropriation from cognitive science of the rational agent model of meaning making inappropriately limits the political potential of film aesthetics. Full article