Film and Television

Tujuan dari penelitian ini adalah untuk mendiskripsikan mengenai manajemen program kelas khusus olahraga di SMP Negeri 2 Brebes. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Hasil penelitian di lapangan dapat dijelaskan sebagai berikut, Perencanaan yang meliputi penentuan tujuan, sasaran dan rencana anggaran. Pengorganisasian melibatkan beberapa komponen sekolah. Pelaksanaan berjalan sesuai dengan perencanaan. Pengawasan dilakukan dengan melihat laporan dari pelatih terkait kehadiran siswa dan perkembangan dari siswa sekaligus perkembangan proses latihannya, serta membuat laporan kepada pemerintah. Dampak dari pogram yaitu dapat mengangkatnya citra sekoah, meningkatkan motivasi siswa, meningkatnya prestasi dalam bidang olahraga terutama pada cabang olahraga serta adanya keseimbangan antara mata pelajaran khususnya di IPA.

Este capítulo examina el papel del cine documental militante en la preservación y el análisis crítico de la memoria de la violencia política de extrema derecha durante la Transición española. A través de los documentales Lunes Negro, Atocha 55 y Yolanda en el país de lxs estudiantes, se analizan la masacre de Atocha y el asesinato de Yolanda González, destacando cómo este tipo de cine actúa como herramienta de denuncia y reparación simbólica.

Non-linear editing is a film editing technique that occurs within a computer environment. It is a technological improvement on the analog system of film production. Most recent films and television programmes in Nigeria are edited with this technology. This study examined the non-linear editing processes involved in the production of the film, Mission to Nowhere. The study adopted the survey method of research and made use of questionnaire with a sample size of one hundred and twenty professional filmmakers in Onitsha. The researchers used simple percentage method of data presentation and analysis to provide answers to the problems raised in the research questions. The work went into in-depth analytical study of the processes involved in the production of the film and gave insights on the inherent advantages and significance of non-linear editing over the linear editing system. The study work adopted the uses and gratification theory of the mass media in addressing the significance of nonlinear editing in film production. Findings revealed that non-linear editing is the prime of digital movie making; the pillar upon which the basic building blocks (shots) of films are blend to produce a thrilling storyline. The research further showed that non-linear editing contributes meaningfully to the development of the Nigerian film industry (Nollywood). The study is relevant as it contributes to sensitizing film and television programme producers on the need to adopt nonlinear production technique, especially now that the country moves towards a transition from analog to digital broadcasting. It is believed that this work as an original intellectual exercise will contribute to the world of knowledge and existing literature in the field of film production (editing) and programme appreciation.

This chapter explores the transformative potential of science fiction in relation to queer identities and subjectivities (Gay 2008, Melzer 2006), arguing that speculative genres offer new possibilities to understand the intersections of gender, sexuality, and storytelling. It focuses on El-Mohtar and Gladstone’s This Is How You Lose the Time War (2019), a science fiction novella centered around the romance that blooms between two sapphic characters who time travel to create opposing futures, and its subversive narrative style. The structuring of the story, which consists of short letters and chapters that take place in different moments in time, seems to rely on language fragmentation and non-linear storytelling to both represent and denounce the lack of a non-fractured history and literary tradition in which queer people can find themselves. Therefore, this chapter is concerned with both the connections between science fiction and the margins and the exploration of queer history (or lack thereof) in hegemonic discourses through narrative devices such as temporal discontinuity and irregular structures.

Guru adalah salah satu komponen pendidikan yang ikut berperan aktif dalam strategis dalam mempelancar proses belajar mengajar di sekolah.Mengingat posisinya yang begitu penting dalam proses belajar mengajar,guru harus memiliki berbagai kompetensi sesuai dengan tugas dan tanggung jawabnya,salah satunya adalah kompetensi profesional.Dengan kompetensi profesional yang dimilikinya diharapkan dapat memberikan sumbangan positif terhadap peningkatan kualitas pelaksanaan evaluasi pembelajaran. Guru pendidikan agama islam pada SMP Muhammadiyah 1 Gisting Kabupaten Tanggamus memiliki kompetensi profesional sebagai seorang guru yaitu adalah kecakapan,kemampuan,pengetahuan dan keterampilan yang dimiliki oleh seorang pendidik,pengajar,pembimbing peserta didik dalam proses belajar mengajar,namun kopetensi profesional yang dimiliki oleh guru pendidikan agama islam SMP Muhammadiyah 1Gisting Kabupaten Tanggamus tersebut belum berdampak positif dalam peningkatan kualisat pelaksanaan evaluasi pembelaja...

The Department of Economy, Planning and Environment of the Council of the City of Gold Coast commissioned this study to investigate independent screen production activity and capacity in the City of Gold Coast. The research investigates the industry's size, value chain and workforce; the screen business ecology and content formats created; and the views of above-the-line content creators on the state of the industry. The research examines both core screen content-including short-form and long-form narrative-based feature film, documentary and television series, online content creation, and virtual reality (VR) and augmented reality (AR) production-and commercial corporate video production. This study defines Gold Coast independent production as that which is independent of Hollywood, but also that which is independent of, and occurs outside of the Village Roadshow Studios. It does not examine foreign or Australian feature film and television production filmed at the Village Roadshow Studios, although it does interrogate the interdependencies between local independent and studio production. The study focuses on the activities of screen workers who live and work on the Gold Coast, or those who may live outside the region but whose primary place of work or business is the Gold Coast. Surveys and interviews focus specifically on the productions of independent Gold

El relato televisivo sobre ETA después del cese de la violencia. Ficción, docuseries y reportajes documentales (2019-2020) Television narratives about ETA after the cessation of violence. Fiction, docuseries and documentary reports (2019-2020

Almost immediately after his first appearance in comic books in June 1938, Superman began to be adapted to other media. The subsequent decades have brought even more adaptations of the Man of Steel, his friends, family, and enemies in film, television, comic strip, radio, novels, video games, and even a musical. The rapid adaptation of the Man of Steel occurred before the character and storyworld were fully developed on the comic book page, allowing the adaptations an unprecedented level of freedom and adaptability. The essays in this collection provide specific insight into the practice of adapting Superman from comic books to other media and cultural contexts through a variety of methods, including social, economic, and political contexts. Authors touch on subjects such as the different international receptions to the characters, the evolution of both Clark Kent’s character and Superman’s powers, the importance of the radio, how the adaptations interact with issues such as racism and Cold War paranoia, and the role of fan fiction in the franchise. By applying a wide range of critical approaches to adaption and Superman, this collection offers new insights into our popular entertainment and our cultural history.

This chapter is oriented around the Amazon show, Transparent, and its relationship to Jewish historiography. My argument is twofold. First, that Transparent powerfully diagnoses and responds in a politically and ethically sensitive way to the suffering that the present historical moment generates (including the ways in which the suffering of the past still remains with and affects the present to create even more suffering). Second, that in doing so, Transparent locates itself explicitly as an inventive bit of Jewish memorialization of that suffering, similar in function to other ways in which Jewish memory has been memorialized in literature, song, or religious prayer (for example).  Ultimately, I suggest that this twofold procedure allows us to rethink the very possibilities of what Judaism and/or being Jewish might amount to in the future, and especially the way in which Transparent conceives the very construction of history involved in modern memorialization as full of ruptures, in part due to the fragmentation of modernity, and, in part, to the ways in which suffering is inherited and yet forgotten and repressed.

The advancement of technology and the ascent of capitalism have laid the foundation for a heavily corrupted society and a contemporary human disaster. Rule-makers, the top %1 of the %1 of the society, have sought to brainwash the masses, controlling and manipulating them in order to steer them to further their own interests and amass wealth. As a direct consequence, many individuals have rejected the societal norms, and resorted to illicit means to destabilize both the ruling body and the capitalist framework. In his article titled "Industrial Society and Its Future," the American terrorist Ted Kaczynski, also known as the Unabomber, proclaimed that ‘’the Industrial Revolution and its consequences have been a disaster for the human race.’’ (Kaczynski 1) The entertainment industry, through airing movies and TV shows based on such individuals seem to romanticize them solely for profit and viewer attention. Furthermore, the US entertainment industry not only profits from such twisted individuals who sought vengeance by inflicting harm on the innocent, but it also serves as an epicenter for highlighting societal corruption and the echoes of capitalism within its productions. Mr. Robot, created by Sam Esmail, is an excellent instance of a production that criticizes the corrupted society and the flawed psyche of capitalism. Notably, Mr. Robot embarks on a bold venture to expose the detrimental consequences of the entertainment industry and capitalism, both of which play a role in perpetuating corruption. The purpose of evaluating Mr. Robot is to uncover the strategies adopted by the masterminds of the entertainment business in order to convey messages and explore the deeply rooted social issues in society.

This content analysis of eight television shows from the 1950s to 2020s across broadcast, cable, and streaming platforms seeks to understand the representation of lesbian, gay, bisexual, transgender, queer, intersex, and asexual characters in American television. This paper aims to critically analyze how the representation of LGBTQIA+ characters has changed over the decades and how the representation of bisexual, transgender, queer, intersex, and asexual characters differ from homosexual characters. Furthermore, this paper will take an intersectional approach and analyze the differences between queer people-of-color characters and their White counterpart.

La representación del periodismo en la ficción seriada del siglo XXI
no puede entenderse sin dos obras como The Wire (Bajo escucha) (The
Wire, HBO, 2002-2008) y The Newsroom (HBO, 2012-2014). Sin embargo,
las aproximaciones académicas a las dos producciones han puesto
el foco en aspectos temáticos, narrativos y de recepción, generalmente
privilegiados en el campo de los estudios televisivos frente a otras perspectivas igualmente relevantes. El presente trabajo pretende colmar la
laguna existente respecto a los enfoques formales y propone un análisis
textual y comparado de las claves estilísticas de ambas series en
su tratamiento de la actividad periodística. Como principal resultado,
se concluye que, aunque las dos mantienen una conexión importante
con la realidad, The Wire (Bajo escucha) apuesta por un sistema formal
–articulado por las estrategias de puesta en escena, planificación, montaje
y espacio sonoro– más proclive a la exposición descriptiva de los
hechos, mientras que The Newsroom se decanta por una expresividad
que idealiza el ejercicio de la profesión mediante el énfasis sentimental.

Merupakan sebuah film drama Indonesia, yang dirilis di bioskop pada tanggal 30 November 2023 tahun lalu. Film bergenre drama, romantis, komedi ini disutradarai dan ditulis langsung oleh Yandy Laurens yang menceritakan mengenai kisah seorang penulis skenario film adaptasi terkenal yang ingin mengangkat kisah cintanya kepada Hana teman semasa SMA-nya dengan menggunakan konsep hitam-putih.

Pada tanggal 29 Mei 2024, management melaksanakan proses rekrutmen untuk mencari pemeran film dengan genre romantis. Metode yang digunakan dalam rekrutmen ini adalah Assessment Center, dengan serangkaian kegiatan penilaian terhadap para pelamar. Kel group discussion dan roleplay, pada kegiatan kali ini bertujuan untuk melihat potensi dari calon untuk memunculkan kualitas pada diri mereka secara individu dan kelompok. pada kegiatan kali ini terdapat 5 peserta yang dimana masing-masing peserta akan diawasi oleh 1 orang asesor.

This thesis investigates the cultural economy of film distribution set against the backdrop of Philippine independent cinema. <br> <br> Considered as the business centre of filmmaking, film distribution is typically studied from an economic perspective and traditionally falls outside the remit of film studies. However, the role that economics play in filmmaking cannot be regarded as an exclusive object or subject in the field of business and economics and not of the arts, since film is both a cultural good and economic commodity. As such, this thesis offers a more balanced viewpoint by taking on a humanities perspective in analysing and understanding the complex interplay of culture and economics as applied to Philippine cinema. The project also provides an Asian context to a generally western-dominated approach to the study of film distribution and thereby contributes to the (now) growing literature on distribution studies situated in the larger area of film studies. Th...

In 2017, network Univision won audience share in (2+) television prime time slot; however, Telemundo was the network that exceeded in ratings in the 18-49 and 18-34 age groups, which are the most coveted ones by advertisers. 3 This fact is even more relevant because it represents a historic moment for Spanish-language television. For the first time, Telemundo was able to disrupt the 50-yearold hegemonic position that Televisa's programming had enjoyed in Univision's prime time programming slot. At the end of the 1990s, under the support of Sony, Telemundo abandoned, for a brief period, the scheduling of telenovelas as its prime time programming strategy, with disastrous consequences for its ratings. Telemundo then needed to rectify its mistake quickly; what that meant was that, by the end of 1999, the network was then focused on the in-house production of telenovelas. In 2001, when NBC bought Telemundo, it put the corporate resources at the network's disposal to continue with this strategy of original production.

This article considers photography's role as a visual technology and the consequent effects of expanded frames of knowledge. At the very moment human vision and memory were called into profound doubt, photography provided a mechanical, prosthetic extension to perceptual experience. However, as a technology, it contains the potential for both revelation and control. In this article, photography is considered as a technique that: expands human perception; inscribes its own mechanical operations into new visual forms, therefore enframing and encoding visible knowledge; and can be harnessed as a disciplinary instrument and technique of power. As a consequence, photography's revealing of hitherto invisible dimensions of reality unfolds within a history of revelation, spectacle and power.

Untuk memastikan pembelajaran berjalan dengan baik, dibutuhkan strategi yang tepat dan sesuai dalam proses pembelajaran, maka diharapkan tujuan pembelajaran dan target yang diinginkan oleh guru guna meningkatkan mutu pembelajaran tematik dapat tercapai dengan baik. Tujuan Penelitian ini adalah untuk: mengetahui perencanaan strategi guru dalam meningkatkan mutu pembelajaran tematik, mendeskripsikan penerapan strategi guru dalam meningkatkan mutu pembelajaran tematik, mendeskripsikan hasil dan evaluasi dari adanya strategi guru dalam meningkatkan mutu pembelajaran tematik di kelas V MI Muhammadiyah 10 Pesanggrahan. Penelitian ini menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Pengumpulan data dilakukan dengan menggunakan metode observasi, wawancara, dokumentasi. Teknik analisis data menggunakan: reduksi data, penyajian data dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa: (1) Terdapat perencanaan pembelajaran berupa pertimbangan dalam pemilihan strategi, metode dan media pembelajaran yang disesuaikan dengan materi dan kebutuhan siswa, selain itu ada program penunjang bagi guru yaitu ikut serta dalam workshop. (2) Strategi guru kelas V dalam meningkatan mutu pembelajaran yaitu strategi cooperative learning. (3) Hasil dari adanya strategi cooperative learning dalam meningkatkan mutu pembelajaran tematik di kelas V yaitu didapat hasil penilaian yang selalu meningkat dari setiap sub temanya.

The author is interested in how quality improvement management is implemented to improve the quality of student learning at Hidayatus Sholihin Vocational School because there are many student management practices in institutions that are often carried out based on work periods. The purpose of research in writing this thesis is to determine the planning, implementation, and evaluation of students in improving the quality of education at SMK Hidayatus Sholihin Turus-Gurah-Kediri. The scope of this research is: student planning, student acceptance, student orientation, student grouping, student coaching, evaluation, recording, and reporting, and graduation. The results of this study are student planning in an effort to improve the quality of education at Hidayatus Sholihin Vocational School, namely student management plans compiled by the school principal together with the foundation administrators, student representatives, and the selected team. Besides that, coaching students, such as recruiting students for special coaching in the form of guidance, is carried out optimally. After that, an evaluation was carried out in an effort to improve the quality of education at this school.

Creada por John Milius y William J. MacDonald, Roma (2005-2007) supuso un punto de inflexión para las series históricas en televisión. Coincidiendo con el auge de los canales por cable, HBO buscó primar un producto que tratase temas de contenido más adulto, apostando por una recreación de la gran urbe tardorrepublicana durante el pulso de poder entre Julio César y Cneo Pompeyo. Usando a los dos únicos legionarios citados en los famosos Comentarios cesarianos sobre la conquista de las Galias, Tito Pullo y Lucio Voreno, el programa rodado en los célebres estudios de Cinecittà busca hacer una radiografía de todos los elementos que vertebraban al mundo antiguo (esclavos, comerciantes, senadores, patricias, centuriones, mujeres del pueblo, criminales, etc.). Nuestro análisis busca centrarse en las posibilidades de aprendizaje que nos brindan las dos temporadas del show, destacando un contraste entre la ficción y los datos de las fuentes clásicas, además de los recientes avances en la investigación de dicho periodo histórico. Marcamos asimismo un hiato en el relato televisivo, con una primera parte que hace avanzar a sus protagonistas paralelos a los eventos históricos, mientras que el cierre busca hacer encajar los acontecimientos dentro de los arcos argumentales dramáticos de sus personajes.

Open Access! Here: https://amst.winter-verlag.de/article/amst/2024/2/5
American films have long preoccupied themselves with the plantation as a site for staging scenes of subjection and problematic dramas of emancipation. They are usually less invested in historical accuracy than in constructing barely veiled commentaries on contemporary racial politics. As such, uncomfortable questions of spectatorship, complicity, and liberation are often either deflected or sublimated. This work compares two recent iterations in this genealogy, Antebellum (2020) and The Underground Railroad (2021), within the context of the digital streaming platforms through which their consumption is most commonly mediated. While the former treats the plantation as a violent space of exception that erupts inexplicably upon the present and relies heavily on reproducing lurid spectacles in order to service conventional and often perversely comforting genre expectations, the latter maps out pervasive permutations of the plantation while developing a speculative Black aesthetic which contributes to radical traditions of freedom dreaming. Both remain captive to the opportunistic logics of platform capitalism: the most recent iteration of the plantation's permutations.

ABSTRACT

In the light of the scientific discovery of (1) the fractal HOLON/parton structure and function of the units and scale-levels of culture, and (2) the Fractal Systems Metamodel of the mechanisms (processes) of Bio-Cultural Evolutionary Creativity–from the new meta-meta-Science of Evolutionary Culturology (Velikovsky 2016-2020)–this chapter Selects, Varies, and Transmits to readers: the fractal HOLON/parton structure and function of Television programs as units of culture in the cultural domain of Screen Media. In 2020 over 500 scripted television shows in the US existed, in comparison with the 200 available in 2010. Television program formats include: News, Dramas, Comedies, Reality television, Game shows, Soap operas, Talk shows, Children's shows, Professional wrestling, Sports, and Imported shows. An Evolutionary Culturology Research Program for Television (Screen Media) is presented.


Keywords: Science, meta-science, meta-meta-science, Evolutionary Culturology, Applied Evolutionary Epistemology, Biological Evolution, Television, Consilience, Creativity, Cultural Evolution, Films, Informatics, Informetrics, Television programs, fractal HOLON/partons, Units of Culture

Penelitian ini menggambarkan tentang peranan kepemimpinan dalam.meningkatkan mutu pendidikan melalui Manajemen Berbasis Sekolah yang diterapkan di MIS Muhammadiyah Bujung Tangaya Kecamatan Bungoro Kabupaten Pangkep dengan rumusan masalah sebagai berikut : Bagaimana peranan kepemimpinan Kepala Madrasah dalam upaya mengelola.manajemen madarash untuk.meningkatkan mutu pendidikan, Bagaimanakah Pelaksanaan Manajemen Berbasis Sekolah dalam meningkatkan mutu pendidikan di MIS Muhammadiyah Bujung Tangaya,faktor-faktor apa saja yang mendukung serta kendala dan hambatan apa saja yang dialami dalam upaya meningkatkan mutu pendidikan melalui Manajemen Berbasis Sekolah.  Penelitian ini menggunakan pendekatan kualitatif dengan jenis fenomenologi. Data penelitian diperoleh dengan teknik pengamatan terlibat langsung, wawancara mendalam dan dokumentasi. Informan Kunci  dalam penelitian ini adalah Kepala Madarash dan guru. Kata Kunci : Kepemimpinan, Mutu Pendidikan, MBS.

Brutalist architecture (BA) is most recognisable by its material and monumentality, historically associated with postwar economics and public housing. Popular for its aesthetics, it catered to the appeal of dystopia and an authenticity found in its unfurnished, honest surface. BA has also been linked to critiquing neoliberal, or unregulated capitalism, in urbanisation. In the film Blade Runner 2049 (BR2049) its city is overfilled with BA. Despite vague thematic connections between BR2049's BA and the film's themes of capitalism, there exists no past literature on this matter. The purpose of this study was to explore themes that BA revealed in BR2049 with a methodology following Roland Barthes' approach to semiology, or the study of signs and their meanings. Barthes believed in the validity of varied interpretation of signs alongside foundational concepts, that a sign is made up of a signifier (material form) and a signified (meaning of material). Accordingly, this semiotic film analysis involved three sets of tables: (1) screenshots of BA elements in BR2049 as signifiers; (2) quotes of associations of BA in real life as signifieds; (3) quotes of associations of lighting and colour in the BR2049 universe as signifieds, as an extension of BA. The table sets were analysed following existing literature on film studies and pairing signifiers and signifieds. This study hypothesised that the explored themes will fall under hyper-capitalism, power dynamics, and decay. The results were in agreement, with the majority of BA elements associating with a dysfunctional society. In the unconventional approach of analysing BR2049 with table sets for a more objective analysis, this study adds to the limited pool of film studies with quantifiable methodologies. Further research should look to bring in the real buildings used in BR2049 and their related art movements for a stronger link between signifiers and signifieds for semiotic analysis.

The rise of technology and information makes it easier for humans to communicate, introducing new aspects about the relationship between individual freedom and technology. Digital technology and social media are very influential in everyday life, communication between family and friends is not limited by geographical challenges. Social media makes it easier to express and understand ourselves through online communities. This research aims to see how self-representation in the digital era is shown through Netflix TV show Black Mirror episode Nosedive by Charlie Brooker. The reasercher conducted a semiotic analysis on the first episode in Season 3, "Nosedive," regarding the self-representation shown and how the relationship was created through social media in all Lacie Pound's relationships. Obsessed with social rankings Lacie must carry out positive interactions and represent herself according to social standards. Rating values in Nosedive make relationships between peo...

The paper deals with the reception of Krleža’s last drama which failed disgracefully during its simultaneous premiere in Zagreb, Belgrade, and Ljubljana. In order to uncover the reasons and circumstances of the failure, this review, after analyzing the text of the drama itself, explores the critical reception of its theatrical production. Along with other critics, the author extensively analyses the comprehensive and studious critical valorization of Vlado Mađarević, at the end of which, coincidentally, the critic anticipates one successful stage adaptation of the drama – the one at the Dubrovnik Summer Festival, directed by Georgij Paro.

Rad se bavi recepcijom posljednje Krležine drame, neslavno propale prilikom praizvedbe istodobno u Beogradu, Zagrebu i Ljubljani. Upravo da bi osvijetlio razloge i okolnosti tog neuspjeha, ogled, nakon analize samoga teksta drame, istražuje kritičku recepciju njena kazališnog uprizorenja. Uz ostale kritičare, opsežnije se raščlanjuje vrlo opsežna i studiozna kritička valorizacija Vlade Mađarevića na kraju koje, igrom slučaja, kritičar anticipira jedinu uspješnu scensku adaptaciju drame, one na Dubrovačkim ljetnim igrama u režiji Georgija Para.

This article interrogates the relation between memory and creation in Monica Bonvicini's installation and Agnès Varda's film , both involving the adoption of digital technology and the simultaneous appropriation of analog materials. It is my claim that, as gestures of reinscription rather than of neutral recording, these works not only expand but also confront, disturb, and ultimately reconstitute the memory of cinema we have inherited. Beyond the opposition between continuity and discontinuity, what I propose to call “digital memory” is a memory that originates from the future—one that remembers not only what happened but also what did not happen in our cinematic past (and yet might have, under different conditions), what “will have happened” by virtue of these archival interventions: a memory of, and in, the future anterior. As it draws on psychoanalytic theory, this article also constitutes a preliminary response to Jacques Derrida's and its question about the future of the archive. If the archive (both of cinema and of psychoanalysis) still privileges the lineage that runs from Oedipus to Freud, here I turn to the figure of Antigone, Oedipus's daughter, the marginalized and yet inerasable point of departure for another psychoanalysis— perhaps for another theory of the archive. In light of what Judith Butler calls Antigone's “scandalously impure” claim, a claim that appropriates the very language of the power she defies, I maintain that the archives of the digital age can help us imagine an unruly, incoherent legacy, one in which the women of modernist cinema tear to pieces the enunciation that had initially decided their destiny (Bonvicini) and in which the gleaner's camera reconfigures the path marking the anticipation of one's own death (Varda).

Pese al ímpetu de crítica social que subyace al género distópico, sin duda existen “distopías bellas”: narrativas profundamente ambivalentes por ser tan políticamente horripilantes como estéticamente fascinantes. Tomando como ejemplo central la clásica y canonizada Nosotros (1924) de Yevgeny Zamyatin, pero considerando también distopías televisivas recientes como Black Mirror (2011-), Devs (2020), El cuento de la criada (2017-) o Los juegos del hambre (2012-15), este ensayo profundiza en la idea de “belleza distópica” y en sus ambivalencias a nivel estético y político. Para ello, se parte de la presuposición de que las “distopías bellas” generan un goce estético que, lejos de anular u oscurecer la crítica social subyacente, convierte a tales narrativas en objetos profundamente ambivalentes, que generan reacciones que oscilan entre la mistificación y la reflexión crítica. Por una parte, este ensayo demuestra que Nosotros puede reinterpretarse como la distopía clásica más ilustrativa de la “belleza distópica” en literatura. Por otra parte, se sugiere un punto de partida teórico para estudiar la “belleza distópica” como un fenómeno particularmente relevante en medios audiovisuales.

Typically, films are suspenseful when they keep us on the edge of our seats, when glimpses of a turning doorknob, a ticking clock, or a looming silhouette quicken our pulses. Exemplified by Alfred Hitchcock’s masterworks and the countless thrillers they influenced, such films captivate viewers with propulsive plots that spur emotional investment in the fates of protagonists. Suspense might therefore seem to be a curious concept to associate with art films featuring muted characters, serene landscapes, and unrushed rhythms, in which plot is secondary to mood and tone.

This ambitious and wide-ranging book offers a redefinition of suspense by considering its unlikely incarnations in the contemporary films that have been called “slow cinema.” Rick Warner examines how slowness builds suspense through atmospheric immersion, narrative sparseness, and the withholding of information, causing viewers to oscillate among boredom, curiosity, and dread. He focuses on works in which suspense arises where the boundaries between art cinema and popular genres—such as horror, thriller, science fiction, and gothic melodrama—become indefinite, including Chantal Akerman’s LA CAPTIVE, Apichatpong Weerasethakul’s MEMORIA, Jonathan Glazer’s UNDER THE SKIN, Kelly Reichardt’s NIGHT MOVES, Lucrecia Martel’s ZAMA, Kiyoshi Kurosawa’s CREEPY, and David Lynch’s TWIN PEAKS: THE RETURN. Warner investigates the pivotal role of sound in generating suspense and traces how the experience of suspense has changed in the era of digital streaming. THE REBIRTH OF SUSPENSE develops a fresh theory, history, typology, and analysis of suspense that casts new light on the workings of films across global cinema.

CONTENTS

Introduction //
1. Suspense in Slow Time //
2. Minimal Thrills //
3. The Ambient Landscape //
4. Ailing Bodies on the Threshold of Action //
5. Gothic Uncertainty, Bordering on Horror //
6. Streaming the Undead Energies of "Film"

In the wake of the unprecedented global events spurred by the COVID-19 pandemic, this research aims to explore the profound impact of digital media on the post-pandemic dystopian imagination. Focused specifically on the highly acclaimed OTT series Paatal Lok (2020) and the Korean survival drama Squid Game (2021), this study delves into the intricate ways these shows use digital platforms to craft immersive and culturally rooted dystopian narratives. The pandemic, characterised by widespread societal disruptions and an overwhelming sense of isolation, has left an indelible mark on the collective global consciousness. Fears of disease, solitude, and societal collapse have pervaded our realities, compelling creators to navigate these anxieties by drawing on their rich cultural tapestries. Paatal Lok, a riveting Indian crime drama, gives a glimpse into societal corruption, power dynamics, and chaos, weaving in allusions to Indian mythology, folklore, and social realities. Similarly, Squid Game seamlessly integrates Korean cultural symbols, depicting ruthless human nature within the context of a deadly game rooted in children's games. The narrative of Squid Game (2021) reflects societal pressures and the poignant loss of innocence within a fragmented community. Grounded in critical media studies, cultural analysis, and semiotics, this paper seeks to meticulously dissect the narrative structures of Paatal Lok and "Squid Game." It critically examines the strategic use of cultural elements within these shows, emphasizing the pivotal role of digital platforms in disseminating these narratives. The exploration extends to how these cultural elements resonate with audiences, forming a profound connection that enhances their engagement with dystopian storytelling.

The Hero Program for Indonesia can be considered a successful program because it can inspire various parties besides it also has educational value. Heroes for Indonesia give awards to selected figures because they have selflessly dedicated their lives to the interests of many people. Camera is one of the important aspects in the production of television program production, the function of the camera is to take / record scenes directed by the director and then visualized by the players who do the scenes. The camera is operated by a television program production crew commonly called cameramen, the cameraman operates the camera according to the direction of the Program director (PD). The method used in this research is descriptive method. Data collection techniques are carried out through interviews, questionnaires, and through literature studies. The results of this study are through the initial habituation of conducting pre-production, production and post-production activities themselves without relying on other teams. constraints. Not only mastering one part but also required to be able to communicate well and be able to work with all relevant agencies. In addition to being fully responsible for all things related tovisuals, the Television cameraman must also be able to provide information to the audience in the form of visuals presented by camera users in all camera positions 1 to 8 cameras.

Program Pahlawan untuk Indonesia dapat dinilai sebagai program yang sukses karena dapat menginspirasi berbagai pihak disamping itu juga memiliki nilai edukasi. Pahlawan untuk Indonesia memberikan penghargaan kepada figur yang terpilih karena telah tanpa pamrih mendedikasikan hidup untuk kepentingan orang banyak. Kamera merupakan salah satu aspek penting dalam suatu pembuatan produksi program televisi, fungsi kamera yaitu mengambil/merekam adegan-adegan yang diarahkan oleh sang sutradara kemudian divisualisasikan oleh pemain-pemain yang melakukan adegan-adegan. Kamera dioperasikan oleh kru produksi program televisi yang biasa disebut kameramen, kameramen mengoperasikan kamera sesuai dengan arahan Program director(PD). Metode yang digunakan dalam penelitian tersebut adalah dengan metode deskriptif. Teknik pengumpulan data yang dilakukan melalui wawancara, penyebaran kuesioner, serta melalui studi pustaka. Hasil penelitian tersebut adalah melalui pembiasaan diri awal melakukan kegiatan...

Film has the potential to be a powerful tool in shaping people's perceptions and attitudes towards mental health issues. This study aims to examine the representation of mental health in films, with a focus on the film 'Dear David'. This paper discusses how visual representations in the media, especially in films, can influence people's perceptions and attitudes towards mental health issues. Through a semiotic approach, researchers will analyze the images and symbols used in the film 'Dear David' to represent mental conditions such as anxiety, fear, trauma and depression. By understanding these visual representations, it is hoped that a better understanding of mental health and the importance of maintaining psychological balance can be created. The results of this study are expected to provide deeper insight into how visual representations in films can influence people's perceptions and views of mental health. With a better understanding, it is hoped that people will be more open and concerned about mental health problems and reduce the stigmatization that often accompanies this condition.