Film

La terza parte di questo Dossier continua ad esplorare come il cinema di Hollywood ha rappresentato gli insegnanti, sia nella vita professionale che in quella privata, da una parte riflettendo le convinzioni e gli atteggiamenti della società, dall'altra parte contribuendo a diffondere immagini spesso stereotipate e raramente congruenti con la reale situazione e le contraddizioni della scuola. Anche se focalizzato sulle scuole americane, il Dossier introduce numerosi criteri di riflessione e discussione validi per qualunque sistema scolastico e i suoi insegnanti.
La Prima e la Seconda parte sono disponibili su Academia.edu

Ours is a society of cultural amnesia, so it is not surprising that Alamgir Kabir is not a part of our usual reminiscences. However, some remember him as a filmmaker who ceaselessly tried to develop a proper film sense in a country that confuses celluloid theatre with film. Kabir was, in fact, more than a filmmaker-he was an activist and above all a prolific writer, something that many of his fans do not know. Kabir wrote about filmmaking for newspapers at home and overseas-hardly surprising for a filmmaker who wanted a change, but he went even further as a majority of his writings aimed to contribute to the liberation of people at home and beyond.

Aishite Imasu 1941: Mahal Kita

Aishite Imasu 1941 (from the Japanese 愛しています meaning I Love You; Tagalog title Mahal Kita 1941, “Mahal Kita” also meaning I Love You) is a drama, romance, and war movie released in the Philippines in 2004 and is a story of love, betrayal, and honor in wartime set in the Japanese Occupation of the Philippines (1941–1945) during World War II. It is directed by Joel Lamangan. It is an official entry to the 30th Metro Manila Film Festival.

Aishite Imasu 1941: Mahal Kita
Directed by Joel Lamangan
Written by Ricardo Lee
Starring Judy Ann Santos
Raymart Santiago
Dennis Trillo
Jay Manalo

See
Aishite Imasu 1941:
Mahal Kita cast

Production
company
BAS Films
Distributed by Regal
Entertainment Inc.
Release date December 25, 2004
Running time 107 minutes
Language Tagalog
Japanese
English
Budget P 75 million
Box office P 26.3 million

Plot

The date is December 1941, and the simple folks of the quiet town of San Nicolas are unaware that war is nearing upon them. Inya (Judy Ann Santos) is a lovely young lady who had just married her childhood sweetheart Edilberto (Raymart Santiago) and they're excited about starting a new family. Ignacio "Igna" Basa (Dennis Trillo) is Inya's best friend, a transgender woman who has been in love with the handsome Edilberto for years. Ignacio falls for Ichiru Hamaguchi (Jay Manalo) a Japanese Army officer who returns her affection but becomes torn between fulfilling her duty to her country and her love for
Ichiru.

The arrival of the Japanese throws the town into chaos, days after the Japanese air raid on Pearl Harbor in Hawaii on December 7 - which marked the start of the war. Meanwhile, on December 8, Japanese air bombings included Manila, Baguio, Davao, Iba and Clark fields to signal the Japanese invasion to the Philippines.

But Edilberto, Inya, and Ignacio aren't the only ones the war will change forever. Traitorous Japanese interpreter and local collaborator Maura (Angelu de Leon), strong-willed Tiyang Mabel (Jacklyn Jose), tough guy Anton (TJ Trinidad), and pure-hearted Julia (Iya Villania) also get caught in the winds of the war and find themselves doing things they never thought they'd do... all for the hope of living and dying another day.

Starting in December 1941, the guerrilla leader captain Ediberto Manalang (Raymart Santiago) was named Commander Berto and was supported by other local guerrilla forces in the town of San Nicolas during the Fall of the Philippines. Meanwhile, battles between the Japanese and USAFFE troops ends in the Battle of Bataan in 1942 and the Bataan Death March begins on April 9 of that year. 76,000 surrendered Filipino and American troops became Prisoners of War under Japanese hands. The defeated troops were forced to march from Bataan to Tarlac. Anton joined the guerrilla movement. Ignacio became the movement's spy inside the Japanese forces, catching Maura's suspicion. Anytime Kapitan Berto attacks a Japanese patrol, the latter burns a village and executes suspected guerrilla members under direction from Maura. Inya is also suspected as a Japanese spy and tortured by the guerrillas.

She revealed Ignacio's secret to Hiroshi, who in turn told Ichiru. At first, he did not believe it. Until he suffered a nightmare that he was holding his father's blood in front of the Americans. He tried to make love with Igna, but the latter refused. Ichiru revealed that he knew Ignacio is transgender and he never cares about it as long as he loves Igna.

A few years later, local guerrilla forces are led by Captain Inya Marasingan Manalang, who replaced Commander Berto in 1943 after Edilberto died during a Japanese attack on their camp. The Japanese retaliated with brutality, hanging the mayor and others.

Anton and Igna's transgender friend Edna were released at Igna's request. A guerrilla raid sealed Igna, Ichiru and Akihiro's fates. As Igna returned to the camp after she warned Inya of the raid, she was caught along with Ichiru by Maura and Hiroshi. Igna was beaten. Ichiru escaped along with Akihiro and Igna. They returned to Tiyang Mabel's house, where Akihiro and Ichiru committed seppuku.

Igna again was arrested by Maura and Hiroshi. The former was tortured until unconscious. Kapitan Berto (Inya) raided the town hall, rescued the mayor and Igna and eliminated the Japanese garrison, at the cost of several resistance members, including Anton who was shot by Hiroshi, until the latter was also killed. As soon as Inya and Igna got outside, Maura and her backup arrived. As she shoots Inya, Igna uses her body as cover and took the fatal shot. Inya's men open fired on Maura's vehicle, killing her and the Japanese inside. Igna's last words said she was a traitor, so she deserved a traitor's death.

Many decades and many coercions later, Inya told the whole truth about what happened during the time. As the mayor and the historian discusses future plans, including a memorial for the victims, she left them.

Judy Ann Santos as Inya Marasingan Manalang/Commander Berto
Raymart Santiago as Edilberto Manalang
Jay Manalo as Ichiru Hamaguchi
Dennis Trillo as Ignacio Basa/ Igna
Marco Alcaraz as Akihiro Yorokobe
Angelu de Leon as Maura
Jacklyn Jose as Tiya Mabel
Yasmien Kurdi as Senyang
Anita Linda as Inya (old) (Judy Ann Santos)
T.J. Trinidad as Anton
Iya Villania as Julia
Tony Mabesa as the Mayor
Domingo Landicho as Assistant of the Mayor
Jim Pebanco as Edna
Virginia Joshen
Neil Ryan Sese

The cut defined as filmic articulator and how the dialectical conflict of the shot change is assimilated by the spectator were the main topics in the origins of the cinematographic theory in the last century 20s. That theorical production was focused on the event of the cut as semantic articulator of the film. After the neurocinematic discipline, through biometric measurements, we have a new methodological access to the analysis of the cut as cognitive articulator of the filmic message. Nowadays, thanks to techniques such as the electroencephalogram or magnetic resonance, we can study the neuronal reaction to the cut as a way to determine the cognitive processes in the spectator. The study of the shot change by cut has been approached from the neurocinematics as a cognitive gap that the spectator assimilates naturally, analysing the event of the cut from the cinematographic cognitive ecologism, affirming that the cinematographic perception must be analysed in the same way as the perception of reality. However, the theoretical concept of the cut as suture developed by Oudart in the past 60s, as well as defining a first perceptual level that fits perfectly with the proposals of cognitive ecologism, it also adds a symbolic and textual level, which discriminates filmic perception from the perception of reality. Therefore, we believe that the neurocinematics should be developed from the concept of the cut as a suture in order to develop a cinematographic theory based on the cognitive system of the spectator without forgetting its semantic dimension.

The second part of this Dossier explores how Hollywood cinema has portrayed teachers, both in their professional and in their private life, on the one hand, by reflecting society's beliefs and attitudes, and on the other hand, by helping to spread images of teachers which are often stereotyped and seldom consistent with the real situation and the contradictions of schools. Although focussed on American schools, the Dossier presents a series of criteria useful for reflecting on and discussing any school system and its teachers.

La seconda parte di questo Dossier continua ad esplorare come il cinema di Hollywood ha rappresentato gli insegnanti, sia nella vita professionale che in quella privata, da una parte riflettendo le convinzioni e gli atteggiamenti della società, dall'altra parte contribuendo a diffondere immagini spesso stereotipate e raramente congruenti con la reale situazione e le contraddizioni della scuola. Anche se focalizzato sulle scuole americane, il Dossier introduce numerosi criteri di riflessione e discussione validi per qualunque sistema scolastico e i suoi insegnanti.

The electrooxidation of carbon monoxide and methanol on Pt-coated Au nanoparticles attached to 3-aminopropyl trimethoxysilane-modified indium tin oxide electrodes was examined as a function of Pt film thickness and Au particle coverage. For the electrodes with medium and high Au particle coverages, the CO stripping peak position shifts to more negative values with increasing Pt film thickness, from ca. 0.8 V (vs Ag/AgCl) at 1 ML to 0.45 V at 10 ML. Accompanying this peak potential shift is the sharpening of the peak width from more than 150 to 65 mV. For the electrode with low Au particle coverage, similar peak width narrowing was also observed, but the peak potential shift is much smaller, from 0.85 V at 1 ML of Pt to 0.65 V at 10 ML. These observations are compared with the CO oxidation on bulk Pt electrodes and on Pt films deposited on bulk Au electrodes. The film-thickness-dependent CO oxidation is explained by d band theory in terms of strain and ligand effects, the particle size effect, and the particle aggregation induced by Pt film growth. Corresponding to the increasing CO oxidation activity, the current density of methanol oxidation grows with the Pt film thickness. The peak potential and current density reach the same values as those obtained on a polycrystalline bulk Pt electrode when more than 4 ML of Pt is deposited on the Au particle electrodes with a particle coverage higher than 0.25. These results suggest that it is feasible to reduce Pt loading in methanol fuel cells by using Pt thin films as the anode catalyst.

Demand for fabricating robust hemicelluloses composites has been continuously increasing so as to replace petroleum-derived materials with renewable resources. In this study, a new galactomannan with high molecular weight was extracted from endosperms of Sesbania cannabina which could improve the formation of arabinox-ylan film. Inspired by the excellent mechanical properties and hierarchical structure of natural nacre, these naturally extracted arabinoxylan and galactomannan were further self-assembled with bentonite nanosheets, generating a ternary paper with multilayered structure. These hemicelluloses-bentonite papers exhibited the highest tensile strength of 80.87 MPa, 2.39 times that of the hemicelluloses paper without bentonite, which was achieved by the crosslinking reactions between hemicelluloses and bentonite nanosheets. Our study further demonstrated that these papers possess superior gas barrier, water-resistant and fire-retardant properties with the addition of small amount of bentonite nanosheet, which holds the potential for use as fire-protective insulations , coatings, packaging, and aerospace materials.

Arab American Muslims are one of the most misunderstood ethnic and religious groups in the United States. Indeed, to many Americans, Arabs and Islam seem alien and shrouded in mystery. For a number of complicated reasons, the education and social adjustment of Arab American Muslims has received less scholarly attention than other ethnic and religious groups. This is ironic given that Arab American Muslims are highly visible (albeit in a negative sense) and one of the fastest growing populations in the U.S. In an effort to better understand this diverse community, this study investigated how five Arab American Muslim high school students perceive and cope with stereotypes and the way their culture and religion is portrayed in film, the media, popular culture, and school curricula. Through the compelling words of these quintessential Arab American Muslim teenagers, we come to appreciate the lived experiences of the 'Other' as they navigate growing up in a post-September 11 world. This book is intended for educators interested in incorporating critical pedagogy, critical literacy, equity, and multicultural education into their instruction.

One of the most provocative titles in cinema belongs to Xavier Dolan's 2009 film I Killed My Mother. It presented themes of human relationships in relation to the institution of the family, and artistic expression serving as freedom in sexuality and freedom from voicelessness. The setting of the film was particularly at Hubert and Chantale's home, and this presents a distance between the two of them because of the spatial emptiness and quietness in the house. The characters operating in the same area but with hostile behavior towards each other, make the surroundings very unlikely to be a sanctuary. Instead, Hubert's sanctuary is outside this area-looking for an apartment at 16 years old in order to move out, running away from home, isolating himself in the bedroom, and intentionally not participating to work things out with his mother. A particularly notable aesthetic in the film is the symmetrical wide shots, especially in the dinner table and inside the car where the two characters Hubert and Chantale were at. This symmetrical shot brings forth distance between the two characters, similar to the large house. It shows literal distance between the two at an intimate activity (dinner) and their hostility towards each other in terms of dialogue intensifies this. The dialogues talks much about Hubert's vulnerability and his private thoughts on her. This notion is similar to the philosophy of the 1950s American movement, the Beat Generation, a revolutionary shift from conformist to the liberal culture. Xavier Dolan, mentioning that this film is biographical, abides by the notion of the Beat Generation of using artistic expression as a way to deviate from the norms and to tackle issues that were considered taboos. In this film, Dolan was very open about sexuality, and abstract expressionism (as seen in the splattered paintings in the wall). As the Beat generation focuses on the post-modern ideas of personal and abstract expressionism (the avant garde), anarchy, and alienation, it brought forth a change on the gender ideas of the 1950s when it was

This paper traces the portrayal of violence in cinema through the ages taking into consideration two films from two disparate countries and cultures-the Japanese Seven Samurai by Akira Kurosawa and its remake, the Indian blockbuster Sholay by Ramesh Sippy which was set in two different eras. This paper critiques the representation of violence in the two films and the reasons that led the films to become blockbuster hits. It takes into account the technical innovations used during the making and the resultant effect it had on the spectators. It also discusses the aspects which show that they are similar yet different from each other. Although Sholay has taken inspiration from Seven Samurai, its aggressive, dominant villain Gabbar is a well-rounded character and light has been thrown on his sadistic means. The samurai's Bushido code of combat has been discussed concerning Kambei and the other samurai and how they remain loyal to it until the very end. Violence in cinema has always been a major source of controversy since the inception of films. It has played a very important role in cinema considering the beginning of motion picture and has been included in films right from the days of the black and white era of gangster movies like The Great Train Robbery to the present day slasher films like Scream. Violent images are the lifeblood of T.V and abound in the history of cinema; the history of literature and the arts, in general, would be unthinkable without them (Abel, 2007, p.1). Some appear to be very realistic, while others are gruesome and repulsive. Depiction of violence needs to be handled skillfully to add to the artistic content of the film because its manner of presentation can either make or break a film. Violence rendered in films has evolved over the years. Earlier, showing violently explicit scenes were prohibited due to the effect it would have on the viewer's mind. These days, however, the censor board has accommodated violence in films according to the changing times and culture. Early twentieth century depicted violence symbolically instead of showing them explicitly; for instance, a child being kidnapped and strangled would be depicted in the form of shadows that would show a man pulling the child behind a bush and later a toy falling out of it, thus confirming the child's death. There were films which tested waters and went beyond the limitations put by the censor board. King Vidor's The Big Parade (1925) was very violent about its time. Jack Cole in Slant Magazine writes-"… the movie visualized the whistle's deafening, disruptive scream with chaotic editing that objectively, passively observes war's effect on social life" (Cole, 2013).

In introductory semiotics courses, one learns that semiotics as a science sprang from linguistics and above all from the interpretation and explanation that language tries to offer to systems of meaning, whether these are inside or outside verbal language. Specifically, the semiotic theory of A. J. Greimas has shown that a text is produced by a process regulated by its language at a deep and abstract level and expressed through speech structures at the level of speech. In the seminar on Narratology Across the Media (of the postgraduate program in Semiotics, Culture and Communication at Aristotle University of Thessaloniki), we discussed how music can be the subject of semiotic study, and in particular how the structure of the musical text can function as a text in terms of narrative syntax and semantics. It is be possible to analyze the basic components of music, namely sound color, tone, intensity and duration, and see for example how a rhythmic pattern is related to narrative. One could say that the above are covered by the theory of musicology. But is a musicological analysis a priori a semiotic one? We would say, for example, that musicology studies the transfer of sound into symbols, which are notes. When we move from langue to parole, that is, when we go from language to the use of language, things start changing. So, in music when the sound needs to be analyzed in the context of a film and thus in its cultural, sociological and historical contexts, tools of semiotics are indispensable. The subject of this paper is to examine the music of the film Harry Potter and the Prisoner of Azhkeban and see how the musical texts selected affect or cooperate with the verbal and visual elements of the composite audiovisual semiotic text of the film. In this way, a sense can be generated about the ideological framework in which our material moves, and how music may contribute to the meanings of, for example, magic, education, Englishness, and medievalness created in the film.

In my 5000-word essay graduate project, theories of haptic film and phenomenology (see Barker 2009, Marks 1999) are also put into practice by creating a short documentary which tries to let the audience relate to the life-experience of a person with sensory processing sensitivity (SPS). SPS describes an innate trait that is defined by the extent to which individuals are more receptive to and process more deeply a variety of stimuli of everyday life. This includes physical, social and emotional stimuli as well as sensitivity to and awareness of scents, noises and lights that go unnoticed by others. The term Phenomenology is used here to describe the way in which audiences perceive film as if they themselves were inside the world of the film. Thus it lends itself perfectly to exploring the trait of SPS in this particular way. It suggests viewers will be able to immerse themselves in this documentary, completely absorbing what I am presenting them as if it was their own life experience. To achieve this practically, the film will make use of creative light effects, camera techniques, and footage manipulation to create a subjective but factually informed visual representation of (the factual background of) SPS. By using arts-based-research and visualising SPS in an artistic medium I essentially hope to raise awareness of this trait by making it more accessible and comprehensible through my first-person account of the experience of someone with SPS.

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