Study on Comedy Films of Malaysian Studio Era: An Approach to Social Culture Criticism

2021 ◽  
pp. 27-34
Author(s):  
Ayu Haswida bt Abu Bakar
Keyword(s):  
Social Culture ◽  
Studio Era

Regional Disparities of the Social Innovation Potential in the Visegrad Countries: Causes and Consequences

2018 ◽  
Vol 5 (1) ◽  
pp. 36-42
Author(s):  
György Kocziszky ◽  
Dóra Szendi
Keyword(s):  
Social Innovation ◽  
Technical Innovation ◽  
The European Union ◽  
Social Culture ◽  
Complex Character ◽  
Innovation Potential ◽  
The Social ◽  
Territorial Disparities ◽  
Active Contribution ◽  
Visegrád Countries

Abstract The international literature is paying significant and increasing attention to the analysis of the regions’ innovation potential, and its active contribution to economic growth and competitiveness. Beside the classical, technical innovation, also the social innovation is getting even more emphasis. It can solve as alternative basically in the case of the peripheral territories. The convergence of peripheries is a stressed priority in the European Union. The territorial disparities are resulting in significant social and political problems also in the case of the Visegrad countries’ regions. The authors in their research represent a possible method for the measurement of regional (NUTS-2) level social innovation potential on the example of the Visegrad countries, and they also analyse the causes and consequences of disparities. The applied complex social innovation index can be calculated as a result of three pillars (economic, social, culture and attitude), and several components. As a result of the created patterns can be concluded that compared to the economic indicators, the disadvantage of the peripheries is not so significant in the case of the social innovation index, because of the complex character of the index. In the second part of the research, the authors analyse and evaluate also the methods, which can be adequate for increasing the social innovation potential.

Issues Surrounding the Development of the Neo-Nazi Scene in East Berlin

2000 ◽  
Vol 33 (2) ◽  
pp. 45-50 ◽  
Author(s):  
Eric Brothers
Keyword(s):  
New York ◽  
German Democratic Republic ◽  
Democratic Republic ◽  
Third Reich ◽  
Communist Regime ◽  
The Political ◽  
Social Culture ◽  
East Berlin ◽  
The Third ◽  
The Third Reich

The rise of neo-Nazism in the capital of the former German Democratic Republic (GDR) was not inspired by a desire to recreate Hitler's Reich, but by youthful rebellion against the political and social culture of the GDR's Communist regime. This is detailed in Fuehrer-Ex: Memoirs of a Former Neo-Naxi by Ingo Hasselbach with Tom Reiss (Random House, New York, 1996). This movement, however, eventually worked towards returning Germany to its former 'glory' under the Third Reich under the guidance of 'professional' Nazis.

Universal Social Culture

1994 ◽  
Vol 11 (1) ◽  
pp. 13-24
Author(s):  
Muhammad Al Ghazali
Keyword(s):  
Natural Order ◽  
Human Society ◽  
Social Culture ◽  
Philosophy Of Life ◽  
Empirical Survey ◽  
Islamic Thought ◽  
The Individual

Shah Wali Allah's (1703-63) ideas and profound intellectual legacycontinue to atrract scholastic interest. Despite many works on his legacy,significant facets remain unknown. As his futuristic ideas hold great promisefor modem and future Islamic thought, his works should be analyzed.We will focus on one such idea: his synthesis of reason, revelation,and empiricism. Building on evidence from an inductive survey of socialphenomena to support the claims of revelation and staying within thedoctrinal framework of revealed guidance, he constructs a universal socialcultute paradigm and says that all Qur'anic injunctions and instructionsof the Prophet are compatible with the demands of human nature.His view of the individual and human society is an integral facet ofhis philosophy of life and is one of the most original parts of his legacy.He sees life as a display of the grand divine scheme in natural order andSocial organization. Although his exposition of humanity's social developmentseems to be in the nature of a humanist and sometimes assumes theform of an empirical survey, his final conclusions confirm the fundamentalpostulates of religion. Some modem exponents of his social doctrinessuggest that his ideas are not original and say that he might havetaken them from Ibn Sin$ or Ibn Khaldiin. However, a totalist view ofhis framework of thought shows that this is an unwamted assertion ...

Torn, Burned, and Yet Dancing

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
Literary Text ◽  
Female Characters ◽  
Literary Field ◽  
In Series ◽  
Studio Era ◽  
Classical Hollywood ◽  
Mode Of Production

This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last Tycoon who, in refusing to remain silent substitutes for other women, rupture the illusory conceits of seamless fictional narration in classical Hollywood—and its equally seamless discourse of femininity. Fitzgerald’s Hollywood writing thus confronts the gendered and racialized limits of the modernist literary field and, in the process, unravels the myth of the solitary author and the singular, stable literary text.

Last Woman Standing

2018 ◽  
Author(s):  
J. E. Smyth
Keyword(s):  
Star System ◽  
Women's Issues ◽  
Political Equality ◽  
Equal Pay ◽  
Career Opportunities ◽  
American Myths ◽  
Collective Self ◽  
Women’S Careers ◽  
The Media ◽  
Studio Era

Today, when the media puts studio-era Hollywood and feminism together, the answer is usually Katharine Hepburn. But during her career at RKO and MGM, she did not discuss women’s issues regarding equal pay, career opportunities, or political equality. However, she did state flatly in 1933, “I intend to speak my mind when I please, despite movie traditions,” setting her independence against the Hollywood establishment. She remained uninterested in working with other Hollywood women on-screen or in recognizing the advantages of promoting women’s careers through publicity networks off the set. Katharine Hepburn endures as a product of American myths about pioneering individualism, the Hollywood star system, and the studio-era film industry’s ambivalent investment in strong women. But if, as historian Nancy Cott has argued, “Pure individualism negates feminism because it removes the basis for women’s collective self-understanding or action,” then Hepburn was no feminist. This chapter unravels her myth.

Designing Women

2018 ◽  
Author(s):  
J. E. Smyth
Keyword(s):  
Working Women ◽  
Costume Design ◽  
Creative Force ◽  
Women's Fashion ◽  
The One ◽  
Studio Era ◽  
Average Woman ◽  
Better Than

During the early 1940s, journalists observed that after years of men controlling women’s fashion, Hollywood had become “a fashion center in which women designers are getting to be a big power.” In a town where “the working girl is queen,” it was women who really knew how to dress working women. Edith Head’s name dominates Hollywood costume design. Though a relatively poor sketch artist who refused to sew in public, Head understood what the average woman wanted to wear and knew better than anyone how to craft her image as the-one-and-only Edith Head. However, she was one of many women who designed Hollywood glamour in the studio era. This chapter juxtaposes Head’s career with that of a younger, fiercely independent designer who would quickly upstage Head as a creative force. In many senses, Dorothy Jeakins’s postwar career ascent indicated the waning of the Hollywood system and the powerful relationship between female designers, stars, and fans.

Success in Spite of Itself

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Musical Score ◽  
Back Seat ◽  
Publicity Campaign ◽  
Studio Era

Detailed production files about the musical score for Spellbound reveal an intense and fraught collaboration among music editor Audray Granville, director Alfred Hitchcock, composer Miklós Rózsa, and, producer David O. Selznick. In contrast to Rebecca, for which Hitchcock assumed a back seat in the scoring, his music directions for Spellbound are more specific—and contrary to Selznick’s. Granville, whose influence stretches from the preview score to the final dubbing of Rózsa’s theremin-infused score, sought to reconcile these differences. Her editing is deftly effective—not only maintaining the motivic integrity of Rózsa’s score but also shifting the score’s emotional weight from its misogynist villains toward the beleaguered heroine (Ingrid Bergman). Ultimately, the collaborative tensions of Spellbound proved unsustainable: the final result disappointed all four players. Nevertheless, the score’s popular reception—abetted by another music-based publicity campaign and soundtrack album—made it one of the best-known scores of the studio era.

“I Know Just What She’s Going Through”

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Original Music ◽  
Delicate Balance ◽  
Alternative Perspective ◽  
Franz Waxman ◽  
Studio Era ◽  
Musical Accompaniment

Rebecca’s music offers the strongest argument for the style of musical collaboration Selznick fostered. Although earlier scholarship has focused on Hitchcock and Waxman, this chapter provides an alternative perspective informed by production records: how ideas and decisions flowed from producer, music director Forbes, and composer Franz Waxman to intermingle in one of the most compelling scores of the studio era. This chapter shows the extent to which Selznick and Forbes shaped the score’s formation and the degree to which non-original music from the preview score works in dialogue with Waxman’s associative themes, Robert Russell Bennett’s arrangements, and Leonid Raab’s orchestrations. Rebecca’s musical accompaniment epitomizes a delicate balance of collaborative tensions: the fruit of a system developed under Selznick and Forbes in the late 1930s.

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