scholarly journals Beyond the Book: The Periodical as an ‘Excavation Site’ for Translation Studies

2019 ◽  
Vol 11 (1) ◽  
pp. 3-21
Author(s):  
Ceyda Özmen
Keyword(s):  
Film Studies ◽  
Substantial Contribution ◽  
Large Network ◽  
Periodical Studies ◽  
Hollywood Films ◽  
Classical Hollywood ◽  
Excavation Site ◽  
Translational Product

The present study starts with a theoretical and methodological discussion in an effort to approach the periodical as a composite genre formed through a range of interacting discourses and networks including translations and translators. It traces the position and role of translation and translators within the broader makeup of the periodical and its metanarrative. In light of the framework outlined in the first part, the second part elaborates on a popular, long-lasting Turkish film magazine, Yıldız [Star] (1938-1954) as a translational product and institution. The analysis of a film magazine as a case study adds further layers to the study and allows for multidisciplinary cross-fertilization and dialogue across translation, periodical, and film studies. Siting Yıldız vis-à-vis the socio-cultural and political context of the era and a large network of relations, this part reveals the substantial contribution of the translational habitus of the magazine to the construction and maintenance of its “common habitus” (Bourdieu 273; Philpotts). It also becomes evident that translation does not only contribute to the formation of the heteroglossic structure of Yıldız but also plays a significant part in shaping its metanarrative, which is highly relevant to the Turkish experience of American modernity presented by classical Hollywood films and stardom.   Keywords: translation history, periodical studies, film magazine, translational habitus, common habitus

Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception

2021 ◽  
pp. 135485652110304
Author(s):  
Lisa Bode
Keyword(s):  
Film Studies ◽  
Media Theory ◽  
Digital Rhetoric ◽  
Visual Effects ◽  
After Effects ◽  
Starting Point ◽  
Media Creation ◽  
Media Practices

On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps

Periodical codes and translation

2019 ◽  
Vol 14 (2) ◽  
pp. 174-197 ◽  
Author(s):  
Şehnaz Tahir Gürçağlar
Keyword(s):  
Qualitative Analysis ◽  
Historical Context ◽  
Analytical Framework ◽  
Periodical Studies ◽  
Translation Research ◽  
The Creation ◽  
The Way

Abstract This article discusses the relevance of periodical codes, an analytical framework that has been developing in the nascent field of periodical studies, for translation research. It explores how using periodical codes as heuristic tools can be instrumental in shedding light on the role of translation in the making of a magazine’s common habitus in a historical context. It presents a case study on the Turkish literary and cultural magazine Varlık, which began publication in 1933 and is still in existence. It offers a quantitative and qualitative analysis on the position of translation in the magazine, highlighting the way it contributed to the creation of particular forms of internal and external dialogics. Special emphasis is placed on compositional and social codes of Varlık and the way translation has been instrumental in shaping both.

scholarly journals Video Surveillance in Hollywood Movies

2002 ◽  
Vol 2 (2/3) ◽  
Author(s):  
Dietmar Kammerer
Keyword(s):  
Popular Culture ◽  
Real Time ◽  
Video Surveillance ◽  
Film Studies ◽  
The State ◽  
Hollywood Film ◽  
Hollywood Films ◽  
Hollywood Movies ◽  
Minority Report

This paper examines the representations of CCTV in contemporary popular culture, namely Hollywood film from the perspective of culture and film studies. It starts from the observation that a growing number of Hollywood films are not only using (fake) CCTV images within their narrative, but are actually developing 'rhetorics of surveillance'. Following the argument of Thomas Y. Levin, contemporary Hollywood film is increasingly fascinated with (the images of) video surveillance. This fascination can be explained with the use of 'real time' and a shift from spatial to temporal indexicality in these movies. The paper then takes a closer look at three recent films: Tony Scott's Enemy of the State, Steven Spielberg's Minority Report and David Fincher's Panic Room. The role and uses of CCTV imagery in these films are analyzed; the role of the heroine under surveillance is examined; modes of (im-)possible resistance against CCTV are discussed.

scholarly journals Listening, Corporeality, Place and Presence

2010 ◽  
pp. 113-127
Author(s):  
Susan Turner
Keyword(s):  
Virtual Reality ◽  
Virtual Environments ◽  
Film Studies ◽  
Sense Of Presence ◽  
Different Types ◽  
Being There

This chapter considers the role of sound, and more specifically, listening, in creating a sense of presence (of “being there”) in “places” recreated by virtual reality technologies. We first briefly review the treatment of sound in place and presence research. Here we give particular attention to the role of sound in inducing a sense of presence in virtual environments that immerse their users in representations of particular places. We then consider the phenomenology of listening, the nature of different types of listening, and their application: listening is active, directed, intentional hearing, and is not merely egocentric, it is body-centric. A classification of modes of listening that draws on work in film studies, virtual reality, and audiology is then proposed as a means of supporting the design of place-centric virtual environments in providing an effective aural experience. Finally, we apply this to a case study of listening in real and simulated soundscapes, and suggest directions for further applications of this work

The role of multiplicity in a cult: A case study

1987 ◽  
Author(s):  
William A. Worrall ◽  
Ann W. Stockman

Endangered Butterflies and their Non-Native Host Plants: Examining Shifting Values of Belonging in Restoration

2019 ◽  
Vol 3 (1) ◽  
pp. 1-9
Author(s):  
Robert M. Anderson ◽  
Amy M. Lambert
Keyword(s):  
Ecological Restoration ◽  
Native Species ◽  
Puget Sound ◽  
A Value ◽  
The Social ◽  
Remote Island ◽  
Scientific Truth ◽  
Native Host

The island marble butterfly (Euchloe ausonides insulanus), thought to be extinct throughout the 20th century until re-discovered on a single remote island in Puget Sound in 1998, has become the focus of a concerted protection effort to prevent its extinction. However, efforts to “restore” island marble habitat conflict with efforts to “restore” the prairie ecosystem where it lives, because of the butterfly’s use of a non-native “weedy” host plant. Through a case study of the island marble project, we examine the practice of ecological restoration as the enactment of particular norms that define which species are understood to belong in the place being restored. We contextualize this case study within ongoing debates over the value of “native” species, indicative of deep-seated uncertainties and anxieties about the role of human intervention to alter or manage landscapes and ecosystems, in the time commonly described as the “Anthropocene.” We interpret the question of “what plants and animals belong in a particular place?” as not a question of scientific truth, but a value-laden construct of environmental management in practice, and we argue for deeper reflexivity on the part of environmental scientists and managers about the social values that inform ecological restoration.

Sign in / Sign up

Export Citation Format

Share Document