The Effectiveness of Zoom Meeting Application and Comedy Film Media on Students’ Anecdot Writing Ability

The purpose of this research: (1) to know the effectiveness of zoom meeting application on the ability to write anecdotes. (2) to know the influence of comedy film media on the ability to write anecdotes. (3) to know the influence if the interaction of zoom meeting application and comedy film media together on the ability to write anecdotes. The research is a quantitative with the type used is experimental study using a 2x2 factorial design. This design used to examine two independent variables (zoom meeting application and Comedy Film Media) against one dependent variable (writing anecdotes) with the help of SPSS version 16 for windows application. The sample of the research as many as 40 students and take a sample random technique. Data collection was done by means of a student's writing ability test. The findings of the researcher indicate that: (1) there is a significant influence of students using the zoom meeting application on the ability to write anecdotes, with the acquisition value F0 = 5,415 and sig. = 0,026 ≤ 0,05; (2) there is a significant of students using the comedy film media on the ability to write anecdotes, with the acquisition value 11.094 and sig. = 0,02 ≤ 0,05; (3) there is no significant effect of the zoom meeting application and comedy film media on students’ anecdotes writing skills, with the acquisition value F0 = 1.518 and sig. = 0,226 ≥ 0,05.Keywords: Zoom Meeting Aplication, Comedy Film, Writing Ability

ADULT JOKES IN SAUSAGE PARTY MOVIE: A STUDY OF MULTIMODALITY

The Sausage Party Movie is a comedy film directed by Conrad Vernon and Greg Tiernan (2016) which is sensational. The theme brings some controversy among people about how vulgar it is. The story exposed some sensitive themes such as intercourse, orgy, homosexuality, bisexuality, foreplay, torturing, murderer, annihilation, genocide, colonial domination, and other aspects as well. The contested scenes in the movie which manifest adult jokes are being analyzed by investigating the visual and linguistic elements related to the particular scenes. Thus, this study analyzed the adult jokes in “Sausage Party” by using multimodality approach which combines types of metafunction from Systemic Functional Linguistic (SFL) and visual elements of Gunther Kress and Theo van Leeuwen framework. The data were all scenes which contain adult jokes in this movie. The result reveals that some scenes may construct the meaning which related with the adult jokes. Despite the fact that this film is a comedy cartoon which associated with children, many adult jokes are being displayed to entertain the audiences which not suitable for underage communities. Likewise, the adult jokes are displayed as implicitly as possible to entertain either the underage who thinks it is only a usual joke or the adulthood who socially and practically understood the meaning behind it. In addition, the data is occupied by an intercourse activity between sausage and bun, torturing and murdered ideas, and also the idea of how human had intercourse from another perspective.

Translating “l’esprit Canal” into comedy screenplays: Canal+’s role in the development of French comedy film trends

This article retraces the trajectories of three selected groups of comedy actors, screenwriters, and directors discovered on Canal+ in the context of the evolution of the media group’s policies for comedy development practices for cinema. The article focuses on artists and television shows that served as platforms for entry into the cinema, including “Les Nuls,” “Les Robin des Bois,” Jamel Debbouze and Philippe Lacheau’s “La Bande à Fifi.”

10. The letterless canon

“The letterless canon” argues that Jewish literature from the mid-twentieth century onward is not restricted to fiction, poetry, and theater. The book as a tool for the dissemination of knowledge has undergone a metamorphosis. Along the way, the border between high-brow and popular culture has been erased. Comic strips like Superman and graphic novels can be viewed as literary artifacts. Indeed we should consider the work of Will Eisner (A Contract with God), Art Spiegelman (Maus), and Alison Bechdel (Fun House), each of whom offers different contributions. There is also the matter of stand-up comedy, film scripts, and television shows which examine, from a Jewish perspective, gender, racial, and class issues.

Woman Exploitation in Warkop DKI Poster Film

The research aimed to determine a representation of women in the poster of Warkop DKI comedy film (Dono, Kasino, Indro) in 1980-1989 from a woman point of view. The involvement of women as models in the film poster media was not yet clear in terms of their roles; however, women could be used more as commodities of capitalism to reap profits. In the patriarchal rule, men were assumed to be created as culture-making in the other women were subordinated. The research applied a descriptive qualitative methods by collecting data using documentation techniques. The collected data was reducted, presented, and concluded. Roland Barthes’ semiotic theory was used to analyze poster design elements that contained the exploitation of the female body. The research results find that (1) women in the film poster media are only subordinated to the poster to attract men, potential viewers. (2) Film posters show sexual exploitation and eroticism that is made into a high-selling and quite promising commodification.

You Haven’t Seen the Last of Men

The Full Monty (Peter Cattaneo, 1997) is much acclaimed as a comedy film. Yet, its screenplay is based on a serious context, contemporary of its shooting—the industrial crisis in the North of England—and deals with its societal effects—a major shift in gender roles and patterns. The real achievement of the male characters is that they resolve gender conflicts adopting cultural practices traditionally reserved for women, asserting their masculinity while posing as sex objects. At a time when men–women relationships are at the heart of debates in the Western World, this article seeks to demonstrate that the movie has a quasi-universal dimension by suggesting that, rather than a reversal of gender roles, a new kind of balance can emerge, with all its attendant “contradictions.”

Parody film as a postmodernist deconstruction in cinematography

Lately, the research of Parody film as a part of film discourse have reached its peak in the history and philosophy of science. The polycode essence of the concept of film discourse prompts changes and modifications in the interpretation of Parody film. Therefore, the subject of this analysis is Parody film. The goal of this research consists in examination of the peculiarities, meaning, and role of the concept of “parody film”, which is a creative work intended to ridicule the plot through satirical or ironic imitation. Research methodology is based on the method of analytical study of sources for clarification of the logic and content of the concepts of “parody”, “parody film”, and “film discourse”, as well for revealing the essence of parody film as a postmodernist deconstruction in cinematography. The article also employs the methods of comparative analysis and the concept of local cultures. The scientific novelty of this research consists in systematization of the existing knowledge on parody film in the light of film discourse, which being the phenomenon at the intersection of multiple disciplines is in the epicenter of scientific inquiries in linguistics, literary studies, sociolinguistics, philosophy of semiotics and film semiotics, critical discourse analysis, and theory of cinematography. The theoretical importance lies in characterization of the concepts of “parody”, “parody film”, “comedy”, “comedy film” in the context of modern knowledge of moviemaking and cinematography. The acquired results give a better perspective on the role of parody film in art and life of the society. The Interpreters fight for cinema, on the one hand adoring it as the art with unlimited capabilities, while on the other – neglecting the fact that it should need the unpretentious demands of the audience. The author claims that in a broad context, the parody film of the XXI century is not aimed at parodying a literary text. The filmmakers rather consider and use parody film as a means for drawing attention of various life circumstances.

Interpretation Strategies and Interpretation Performance in Interlingual and Bilingual Subtitling: A Case of Iranian BA Translation Students

The researchers in Interpreting Studies have underrated the importance of interpretation strategies in interpretation courses at the university level in the Iranian context. As a mixed-method study, the present study mainly aimed at discovering the subtitling strategies used in interlingual subtitling and bilingual subtitling by translation students. The researchers selected 30 homogeneous students majoring in Translation Studies which were divided into two experimental groups. During the treatment phase, the researchers worked with each group's students on subtitling strategies on a comedy film, following Peterson's (2005) strategies. The results of the post-tests confirmed that there was a significant difference for interlingual subtitling since the students’ scores increased significantly from the mean score of 24.53 to the mean score of 27.66 as well as for bilingual subtitling since the students’ scores increased significantly from the mean score of 22.80 to the mean score of 27.13. However, the results revealed no significant difference in students' interpretation scores for interlingual and bilingual subjects. The results of the interviews also supported the effectiveness of audio-visual activities on oral translation. Translation students should pay attention to how they foster their interpreting competence and find the type of subtitling that is more beneficial.