Bachelor thesis | Film- en literatuurwetenschap (BA)
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This thesis examines the film Everything Everywhere All At Once, by Dan Kwan and Daniel Scheinert from 2022, in relation to Albert Camus’ absurdism from the 1940s. My research question is: how can...Show moreThis thesis examines the film Everything Everywhere All At Once, by Dan Kwan and Daniel Scheinert from 2022, in relation to Albert Camus’ absurdism from the 1940s. My research question is: how can the contemporary blockbuster EEAaO, as an update of Camus’s ‘The Myth of Sisyphus’, be read as a critique of current social media practices? Camus’ first approach of absurdism is discussed in his essay ‘The Myth of Sisyphus’, in which he compares the absurdity of life with the situation that Sisyphus is in. According to Camus, Sisyphus is able to cope with the absurd, because he is conscious of his absurd existence. This argument can also be found in the film, specifically the use of the multiverse. Evelyn, the protagonist, wants to escape to other universes, in which her life is seemingly better. However, at the end of the film, she realizes that her high life expectations cannot be realized and she reaches a level of acceptance of her current life. This acceptance can be seen as a critique regarding the contemporary use of social media, which I referred to as ‘neo-absurdism’. The film is thus able to offer critique towards our use of social media.Show less
Master thesis | Cultural Anthropology and Development Sociology (MSc)
open access
Bonaire became part of the Netherlands as a special municipality on the 10th of October 2010. Since this institutional change, Bonaire has experienced an influx of Dutch immigrants, leading to...Show moreBonaire became part of the Netherlands as a special municipality on the 10th of October 2010. Since this institutional change, Bonaire has experienced an influx of Dutch immigrants, leading to significant transformations on the island which has sparked debates about the loss of Bonairian authenticity. This thesis explores these cultural differences through the concept of acoustemology, as proposed by Steven Feld. The perception of noise and sound is culturally dependent. This division between noise and sound contains a hierarchy of sounds, that is parallel to the hierarchy in the dominant meaning-making process that comes from a European Dutch hegemony on the island. What is considered noise on Bonaire is shaped through a Western lens. This implies that immigrants who relocate to Bonaire unknowingly bring their cultural perspectives on noise and sound with them. However, they do this unknowingly, which is the result of what Gloria Wekker calls white innocence. Drawing on two months of fieldwork, this research explains these connections through the lived experiences of several Bonairian Locals. Their realities from the base of the practice of soundscaping that is used to illustrate how perspectives on sound may differ between cultures. These soundscapes were placed on a map to contextualise Bonaire as an interconnected space. The research adopts a multimodal approach in another way, featuring an ethnographic film that highlights the issues faced by local participants and explores the evolving relationship between them and the European Dutch researcher, employing visual ethnographic methods. The study employs self-reflexivity to analyse this dynamic. The argument made is that an understanding of the local Bonairian lived experience can be obtained through the lens of analysing sound and this understanding is essential in the building of relationships between Bonairian locals and Dutch immigrants.Show less
Film has the power to influence the worldview of its audience. This includes shaping the image of countries by including them on the silver screen. Through a case study of five Hollywood films from...Show moreFilm has the power to influence the worldview of its audience. This includes shaping the image of countries by including them on the silver screen. Through a case study of five Hollywood films from the 1970s and 2010s, this thesis takes a diachronic in exploring how the Netherlands is represented in American cinema. The concept of verisimilitude is used to determine how well the images of the Netherlands in the movies correspond to the perception of the country from a Dutch person’s perspective. The main points of focus in the analysis are the environment and people. In these sections, it is evident that the inclusion of traditional clothing and landmarks such as windmills is better contextualised in the older films than in the newer ones. In general, when comparing the results between the films from the different decades, it can be concluded that the degree of verisimilitude is relatively higher in the 1970s. In other words, the representation of the Netherlands in American film has become more stereotypical in recent years.Show less
This thesis explores the themes of family, loss and belonging in Wes Anderson's Rushmore (1998), The Darjeeling Limited (2007), and Moonrise Kingdom (2012). The thesis connects objects and places...Show moreThis thesis explores the themes of family, loss and belonging in Wes Anderson's Rushmore (1998), The Darjeeling Limited (2007), and Moonrise Kingdom (2012). The thesis connects objects and places within these films to the abovementioned themes, and shows parallels between the use of objects in these films and the way in which objects are used in George Eliot's novel The Mill on the Floss (1860) - objects have a multiplicity of functions in both. Key to Anderson's films are relations between characters, and objects and places in the films signify these bonds. In the end, the characters in the films find a place to belong in the other.Show less
De Russische Federatie zoekt naar identiteit en legitimiteit. Na de val van de Sovjet-Unie kon Rusland zichzelf niet meer als grootmacht rekenen en bleek de ideologische, culturele, en politieke...Show moreDe Russische Federatie zoekt naar identiteit en legitimiteit. Na de val van de Sovjet-Unie kon Rusland zichzelf niet meer als grootmacht rekenen en bleek de ideologische, culturele, en politieke basis die het communisme had verschaft niet meer toepasbaar op de nieuwe democratische staat. Het was tevens niet mogelijk om terug te keren naar het keizerlijke Rusland. De Federatie moest een nieuwe identiteit en bijbehorende legitimiteit opbouwen. Door een verbinding te zoeken met het middeleeuwse verleden kan het idee van een Russische democratie worden verworpen en de aanwezigheid van een autocraat in het Kremlin worden gelegitimeerd. Dit kan onder andere worden gedaan door het produceren van culturele producten als films, waarin bepaalde narratieven kunnen bijdragen aan de manier waarop het verleden wordt gezien. In deze scriptie werden drie films geanalyseerd die betrekking hadden op het Russische middeleeuwse verleden. Deze waren 1612: Khroniki Smutnogo Vremeni, Viking (2016) en Legenda O Kolovrate (2018). Over elk van de films is een case study geschreven. Hierin werd gekeken naar zowel specifieke als schematische narratieven om conclusies te kunnen trekken over de manier waarop de afbeelding van de Middeleeuwen bijdraagt aan de identiteitsvorming in de Russische Federatie. In de sectie over specifieke narratieven werden elementen bekeken die uniek waren voor de respectievelijke films. In de analyse van schematische narratieven werden vergelijkingen gemaakt met bestaande opvattingen en terugkerende narratieven binnen de Russische geschiedschrijving. Uit dit onderzoek is gebleken dat bepaalde elementen van de Russische identiteit in deze films worden benadrukt, zoals religie, militaire vaardigheden, en de unieke Russische geest. Verder worden er duidelijke linken gelegd tussen de moderne Russische Federatie en het keizerlijke zowel als vroeg-middeleeuwse verleden van het Kievse Rijk. Dit werd gedaan door middel van het bewerkstelligen van verwijzingen naar het heden.Show less
An analysis of how female character's are portrayed in the late '90s and early '00s adaptations 10 Things I Hate About You, She's the Man, and Never Been Kissed of the Shakespeare plays: Taming of...Show moreAn analysis of how female character's are portrayed in the late '90s and early '00s adaptations 10 Things I Hate About You, She's the Man, and Never Been Kissed of the Shakespeare plays: Taming of the Shrew, Twelfth Night, and As You Like It.Show less
Deze scriptie behandelt de vraag hoe het verleden zich al dan niet laat ervaren via film. Specifiek richt ik mij op de notie van presence - een voelbare, onbemiddelde ervaring van het verleden. Dit...Show moreDeze scriptie behandelt de vraag hoe het verleden zich al dan niet laat ervaren via film. Specifiek richt ik mij op de notie van presence - een voelbare, onbemiddelde ervaring van het verleden. Dit idee problematiseer ik aan de hand van een excurs door de Kritische Theorie, specifiek waar deze film aan de orde stelt. Naar blijkt is de ervaring (van het verleden) niet een kwestie van een onbemiddelde aanwezigheid, maar zelf een historisch bemiddelde categorie.Show less
This paper deals with the correlation between transnationalism and Korean identity in the films of Bong Joon Ho. The aim of this research is to highlight the presence of transnationalism and Korean...Show moreThis paper deals with the correlation between transnationalism and Korean identity in the films of Bong Joon Ho. The aim of this research is to highlight the presence of transnationalism and Korean identity in Bong Joon Ho’s films, by examining specific segments of the films that illustrate this. The research demonstrates the interrelationship or conjunction of both transnationalism, with its influences from other film industries, and the reformulation or re-appropriation of the Korean identity in Bong Joon Ho’s films. The research question reads as follows: “How did Bong Joon Ho develop a transnational style of filmmaking that is successful globally, while still retaining a distinct South Korean identity?” In order to answer this question, the research presents all that has been written previously by scholars on the topic of Bong Joon Ho’s style of filmmaking and the concept of transnationalism in relation to East Asian film. In addition, this paper analyses four of Bong Joon Ho’s films, The Host, Snowpiercer, Okja, and Parasite. This research posits that Bong’s distinctive style of transnational filmmaking has been a worldwide success, due to his ability to accommodate to global audiences by transforming and improving Hollywood genre conventions, while addressing global issues. Furthermore, Bong’s incorporation and expression of Korean identity in his films are perhaps what makes Bong Joon Ho even more successful, due to the renewed interest in globally familiar topics from different cultural perspectives.Show less
Bachelor thesis | Film- en literatuurwetenschap (BA)
closed access
In deze scriptie wordt gekeken naar de representatie van families in contemporaine horrorfilms. Aan de hand van drie films en een terugblik op de familiehorrortraditie, wordt gekeken hoe deze...Show moreIn deze scriptie wordt gekeken naar de representatie van families in contemporaine horrorfilms. Aan de hand van drie films en een terugblik op de familiehorrortraditie, wordt gekeken hoe deze werken kritisch reflecteren op de familie als sociaal instituut.Show less
Dit onderzoek is begonnen met de vraag hoe Pir Sultan Abdal wordt afgebeeld in een van de weinige producties dat specifiek gaat over zijn levensverhaal, namelijk de film van Remzi Jöntürk en het...Show moreDit onderzoek is begonnen met de vraag hoe Pir Sultan Abdal wordt afgebeeld in een van de weinige producties dat specifiek gaat over zijn levensverhaal, namelijk de film van Remzi Jöntürk en het toneelstuk van Erol Toy. De alevitische gemeenschap is er een die niet met een enkele definitie of theorie uit te leggen is, waardoor de nieuwsgierigheid naar deze gemeenschap toenam. Om de onderzoeksvraag te beantwoorden, is er eerst gedoken in de alevitische identiteit in de 20ste eeuw van Turkije. Daarna is Pir Sultan Abdal en zijn plek in de alevitische gemeenschap in de 20ste eeuw geanalyseerd. Vervolgens zijn de film en het toneelstuk met een kwalitatieve inhoudsanalyse geanalyseerd.Show less
Bu araştırma Kıbrıslı Türk kimliği sunma hakkında. Üç sinema filmini analiz edildi: Dişi Düşman (1966), Önce Vatan (1974) ve Gölgeler ve suretler (2010). Son ondokuzuncu yüzyıldan şimdiki zamana...Show moreBu araştırma Kıbrıslı Türk kimliği sunma hakkında. Üç sinema filmini analiz edildi: Dişi Düşman (1966), Önce Vatan (1974) ve Gölgeler ve suretler (2010). Son ondokuzuncu yüzyıldan şimdiki zamana Kıbrıslı Türk kimliğinin gelişimi araştirildi. Bu filmler Kıbrıs’ta tarihi üç önemli olay olarak yaklaşık eş zamanlı oluyor: Dişi Düşman (1966) Kıbrıs Cumhuriyeti kurulduktan (1960) sonra üretildi; Önce Vatan (1974) Türkiye’nin Kıbrıs Harekâtından (1974) sonra üretildi; Gölgeler ve Suretler (2010) Kuzey ve Güney Kıbrıs sınırı açildıktan (2004) sonra üretildi. Dişi Düşman’ın ve Önce Vatan’ın yönetmenleri Türkiye’de doğdular ve Gölgeler ve Suretler’in yönetmeni Famagusta da, Kuzey Kıbrıs’ta doğdu. Yönetmenlerin nerede doğduklari önemli, çünkü Turkiye Kıbrıslı-Türk kimliği etkisi geçti/geçiyor. Analizden önce, kimliğin kavramı araştırılı. Birinci bölümde, ondokuzuncu yüzyıldan şimdiki zamana Kıbrıs’ın tarihini anlatıyor. İkinci bölümde, Kıbrıslı Türk’ün kimlik gelişmesi, Kıbrıs’ın tarihi ile eş zamanlı oluyor. Üçüncü bölümde, bu üç filmi analiz ediyor. Yıllar geçtikçe, sinema filminde Kıbrıslı Türk kimliği sunumu değişti. Dişi Düşman’da ve Önce Vatan’da, Kıbrıslı Türk kimliği geliştirdi, Yunanlı-Kıbrıslara karşı koyabilmek yüzünden. Gölgeler ve Suretler’de, Kıbrıslı Türk kimliği daha esnek. Daha her şeyi saran bir kimlik: Bir Kıbrıslı kimlik, Kıbrıslı Türkler ile Kıbrıslı Yunanlar. Bu araştırmada bir kimlik çerçevesi var. Filmlerin analizi sırasında, başka kimlikler (Yunanlılar, Yunan-Kıbrıslılar, Türkler) araştırıldı ve semboller ile araştırıldı: dış görünüş, dil, duvar yazıları ve bayraklar gibi.Show less
