Explore the vast range of titles available.

In \"'El Corregidor at the Crossroads: Desire, Law and Coloniality in Martel's Zama\" Leisa Kauffmann discusses Lucrecia Martel's filmic adaptation of Antonio DiBenedetto's 1952 novel, Zama. Highlighting the director's emphasis on the psychoanalytic (as opposed to the existentialist) dimensions of the novel, the essay follows the titular characater's unravelling and shows how Martel's film allegorizes colonial(ist) subjectivity. In Kauffmann's essay, various psychoanalytic theories (such as the work of Bhabha, Fanon, and Zizek), and critiques centering the notion of race in the Lacanian tradition are applied. In addition, differences between the novel and film, particularly regarding Zama's mutilation and its aftermath, are discussed. Although the film is the first of Martel's ouevre to center a male protagonist, Kauffmann points out that the issue of masculinity and the agency of women in a colonial context characterized by gender as well as racial and class oppression remain central to Martel's visual and auditory masterpiece.

Este artículo sostiene que la producción de Macbeth de Gregory Doran (2001) fue, en su traslado a la televisión, convertida en pieza metateatral. Aunque algunos estudios sobre Macbeth de Shakespeare han tratado la metateatralidad del texto, este concepto artístico no ha sido estudiado en esta producción. Mi intención es revisar la puesta en evidencia del aparato teatral y su paralelismo con las crisis que afectaron a la Royal Shakespeare Company mientras la propia puesta en escena y la cinta se producían. Analizaré la condición de los personajes principales como actores en un microcosmos teatralizado. Por otro lado, estudiaré también las dinámicas entre el espacio escénico y los bastidores en la película para determinar cómo la configuración visual de la producción ilustra la crisis institucional sufrida por la compañía durante el cambio de siglo.

We examine hedonic re-consumption experiences involving partially similar objects, i.e. partial re-consumption, through the case of movie adaptations of books. We investigate partial re-consumption in its two possible orders, from book to movie and the reverse. A qualitative investigation shows that partial re-consumption is intrinsically flawed due to intrinsic differences between books and movies as media. The perceived fit between book and movie strongly impacts the partial re-consumption evaluation process, but differently depending on the re-consumption order due to the asymmetry between the complementarity of the respective media. In the book-then movie path, a satisfactory fit makes book and movie experiences perceived as complements that can be reconnected, making possible value addition between both experiences. In the movie-then-book path, high levels of fit make movie and book experiences perceived as substitutes, and the addition of value more difficult. We show how book and movie expertise can moderate these processes.

The purpose of the present article is to study Tennessee Williams’s A Streetcar Named Desire (1947) and its movie adaptation, The Stranger (2014), directed by the Iranian director Bahram Tavakoli, in the light of adaptation theory particularly Linda Hutcheon’s theory of adaptation elaborated in her book titled A Theory of Adaptation (2013). In adapting a literary work for the big screen, certain adjustments are necessary due to the fundamental differences between these two mediums. In this reading of A Streetcar Named Desire and its movie adaptation, The Stranger, the central questions are: What changes did Tavakoli make to Williams’s play regarding indigenization? What purpose do these adjustments serve? To answer these questions, the present study offers an in-depth analysis of the play and its movie adaptation to find the differences and similarities in sociocultural and political contexts according to Hutcheon’s notions of indigenization and dehistoricization. This study shows that the process of transcultural adaptation results in inherent modifications to the adapted work. The Stranger has experienced changes in its setting, locations, musical elements, characters, and their names while also eliminating certain elements unsuitable for the target audience. Tavakoli has demonstrated the ability to adapt the material to suit his audience through modifications and omissions. However, he has been unable to preserve all the underlying ideas inherent in the original play.

Background Although emotion-specific autonomic responses based on the discrete theory of emotion have been widely studied, studies on the reliability of physiological responses to emotional stimuli are limited. In this study, we aimed to assess the reliability of physiological changes induced by the six basic emotions (happiness, sadness, anger, fear, disgust, and surprise) that were measured during 10 weekly repeated experiments. Methods Twelve college students participated, and in each experiment, physiological signals were collected before and while participants were watching emotion-provoking film clips. Additionally, the participants self-evaluated the emotions that they experienced during the film presentation at the end of each emotional stimulus. To avoid adaptation of participants to identical stimuli during repeated measurements, we used 10 different film clips for each emotion, and thus a total of 60 film clips over 10 weeks were used. Physiological features, such as skin conductance level (SCL), fingertip temperature (FT), heart rate (HR), and blood volume pulse (BVP), were extracted from the physiological signals. Two reliability indices, Cronbach’s alpha and intraclass correlation coefficient, were calculated from the physiological features to assess internal consistency and interrater reliability, respectively. Results We found that SCL, HR, and BVP measured during the emotion-provoking phase over the 10 weekly sessions were more reliable than those assessed at baseline. Furthermore, SCL, HR, and BVP from the emotion-provoking phase exhibited excellent internal consistency and interrater reliability. Conclusions Our findings suggest that these features can be used as reliable physiological indices in emotion studies. The results also support the significance of physiological signals as meaningful indicators for emotion recognition in HCI (human computer interface) area.

This study examines the visual emotive meanings involved in three films, that is, Mulan (1998), Mulan (2009), and Mulan (2020), which are adapted from The Ballad of Mulan. By adopting the theoretical framework of visual affect, this research conducts quantitative and qualitative analyses on the emotional episodes of Mulan in the three films. The study reveals that these films construct Mulan as a personality rich in emotions. However, there are distinctively different distributions of visual affect. In Mulan (1998), Mulan is built as a tomboy disrupting the masculine tradition, while in Mulan (2009) and Mulan (2020), Mulan is constructed as a filial and dutiful woman and an inherent legendary heroine respectively. The identity development revealed in this paper could be seen as a crucial way to transforming traditional figures in adapted films, contributing to the field of adaptation study from a semiotic perspective.

The screenwriter and director Jane Campion narrates an intimate sequence between Benedict Cumberbatch and Kodi Smit-McPhee.