Connecting Kaurismäki to irony is not surprising, but is surprisingly enough, not so much scholarly researched in the past. Irony appears in different disguises, largely depending on the function...Show moreConnecting Kaurismäki to irony is not surprising, but is surprisingly enough, not so much scholarly researched in the past. Irony appears in different disguises, largely depending on the function of it; what the ironist wants to achieve. Applying it can originate from an urge to complicate a matter of discussion but can also be applied to translate the oppositional stance the ironist wants to reveal. In the case of the enigmatic Kaurismäki his intentions or motivations in his choice of theme and subject are essential to the humour he adapts in telling his stories, but always remains somewhat vague. This thesis provides an image of how irony prevails and functions in his cinema on the base of a series of comparative case studies linked to three of his films: I Hired a Contract Killer (1990), The Man Without a Past (2002) and The Other Side of Hope (2017). It eventually sets out an idea of a filmmaker who, by applying irony, both distances though simultaneously engages himself with his audience in his own wayward fashion.Show less
Het doel van deze scriptie is het aantonen van verschillen tussen het beeld en de rol van de (alleenstaande) moeder in J-Horrorfilms en diens Amerikaanse remakes. Aan de hand van enkele korte...Show moreHet doel van deze scriptie is het aantonen van verschillen tussen het beeld en de rol van de (alleenstaande) moeder in J-Horrorfilms en diens Amerikaanse remakes. Aan de hand van enkele korte voorbeelden en case studies bestaande uit drie paar films zal er in deze scriptie worden beschreven wat deze verschillen precies zijn. Daarbij zal er worden gerefereerd aan relevante literatuur, waaronder Sarah Arnolds "Maternal Horror Film: Melodrama and Motherhood" (Basingstoke: Palgrave Macmillan, 2013). De onderzochte filmparen zijn The Ring en Ringu, The Grudge en Ju-On en Dark Water en Honogurai Mizu no soko kara.Show less
Research master thesis | Latin American Studies (research) (MA)
open access
Nesta tese, proponho estudar Boi Neon (2015), o filme mais recente do diretor brasileiro Gabriel Mascaro, e Nossos Ossos (2013), do escritor brasileiro Marcelino Freire. Na forma de “close reading”...Show moreNesta tese, proponho estudar Boi Neon (2015), o filme mais recente do diretor brasileiro Gabriel Mascaro, e Nossos Ossos (2013), do escritor brasileiro Marcelino Freire. Na forma de “close reading” se analisará como se reconstrói e se reinventa o sujeito masculino na sociedade moderna, na qual surge uma convivência conflitiva de diversas formas de masculinidade(s) que se negociam interna e externamente dos sujeitos. As obras estão assombradas (“haunted”) pela tradição regional. Estar assombrado significa o quanto a sensação de ser é sempre perseguida ou assombrada por algo outro que impossibilita descrever, compreender ou fechar a existência em categorias definidas. Desestabiliza as noções de um eu independente e coerente. Surge, então, um potencial deconstrutivo de ruptura e abertura, oferecendo um espaço no qual “Outros” conceptuais e textuais podem emergir. Tanto Bezerra (2014) como Angeli e Machado (2017) relacionam Heleno, o protagonista de Nossos Ossos, ao herói clássico da antiguidade, na qual os amores masculinos se reconheciam oficialmente. Na época moderna, a homossexualidade de Heleno é um fator identitário problemático. Carvalho e De Moraes (2017), tratam Boi Neon a través do conceito da perspectiva do arquivo. Segundo eles, o arquivo, como conjunto de rastros que são ressignificados, é confrontado por uma masculinidade multifacetada, desafiando o paradigma heteronormativo estabelecido. Porém, é importante especificar a dinâmica e transformações da masculinidade em relação à tradição regional. Os protagonistas, ambos nordestinos ambulantes, transitam pela região do Nordeste. Há neles uma constante interferência identitária da tradição passada nordestina que notamos em peças canônicas da região do Nordeste, como Vidas Secas (1938) e Os Sertões (1902). Boi Neon e Nossos Ossos trazem novas representações da masculinidade tradicional nordestina, desafiando a criação de estereótipos e imagens fixas que atravessam o imaginário regional e nacional. Confrontam a tendência em direção a uma normatividade rígida, criando novas verdades que desafiam os modelos hegemônicos da masculinidade, feminidade e a repressão desta ordem dominante.Show less
The uprisings of 2011 started in Tunisia and impacted a lot of countries in the Middle East. The consequences can still be seen today. This thesis attempts to approach how these events have...Show moreThe uprisings of 2011 started in Tunisia and impacted a lot of countries in the Middle East. The consequences can still be seen today. This thesis attempts to approach how these events have impacted the cinema industry and in particular the place and representation of women in it.Show less
Muslims form the largest minority in India, making up for approximately 13% of the total population of India. However, Muslims are also victim to the stereotypes which the Bollywood film industry...Show moreMuslims form the largest minority in India, making up for approximately 13% of the total population of India. However, Muslims are also victim to the stereotypes which the Bollywood film industry reproduces. Cinema is a form of mass media, which can play a large role in the formation of someone’s opinion. With the increase of electronic mass media, and the availability of internet worldwide, the influence of cinema is greater than ever. Cinema has proven to be one of the most influential instruments in popular culture for shaping current trends. Due to its large influence on both culture and mind-set, cinema also serves as a mean for politicians to affect the values of the civilization. Taking into account the growing influence of cinema on both ‘public opinion’ and politics, the stereotyping of Muslims could have a negative influence on the public image of Muslims worldwide. This thesis will address the following hypothesis: The representation of Muslims in popular Bollywood cinema conforms to stereotypes and constructs their identity in a negative manner.Show less
