Landscape Allegory In Cinema

This study seeks to understand the form of cinematic space referred to as 'the landscape of the mind,' in which natural, outdoor settings serve as outward manifestations of characters' inner subjective states.

This study seeks to understand the form of cinematic space referred to as 'the landscape of the mind,' in which natural, outdoor settings serve as outward manifestations of characters' inner subjective states.

This study seeks to understand the form of cinematic space referred to as 'the landscape of the mind,' in which natural, outdoor settings serve as outward manifestations of characters' inner subjective states.

This study seeks to understand the form of cinematic space referred to as 'the landscape of the mind,' in which natural, outdoor settings serve as outward manifestations of characters' inner subjective states.

n the past decade, spanning from the aftermath of the 2008 financial crisis to the beginning of the Covid-19 pandemic, rural poverty in the United States has risen dramatically. The impact of the pandemic is set to intensify these inequalities as the decades of neoliberal dismantling of public healthcare and other social institutions leave inhabitants of impoverished rural areas particularly vulnerable. Even before this current exacerbation, representations of rural landscape in American cinema have sought to spatially visualize the country’s social inequalities and focus on the victims of poverty and marginalization. The films discussed in this monograph, Ballast (2008), Winter’s Bone (2010), Beasts of the Southern Wild (2012), and Leave No Trace (2018), address deep rural poverty in a complex manner and facilitate an interactive, social understanding of landscape. New Rural Cinema suggest a novel way of looking at landscape in cinema that responds to and guides its readers through this recent development in American Independent film. It views the chosen films as expressions of a growing awareness of the dire inequality caused by neoliberal capitalism in the United States and the role landscape plays both in its mechanisms of social exclusion as well as in its collective contestation.

In this book, Tarja Laine provides insights into how traumatic cinema invites profound affective engagement with the pathology of memory that lies at the heart of trauma. The author reveals that traumatic cinema communicates the inability to process a traumatic event by means of its aesthetic specificity as a time-based medium.

Mind Reeling investigates how cinema displays and mirrors psychological disorders, such as bipolar disorder, amnesia, psychotic delusions, obsessive compulsive behavior, trauma, paranoia, and borderline personalities. It explores a range of genres, including biopics, comedies, film noirs, contemporary dramedies, thrillers, Gothic mysteries, and docufictions. The contributors open up critical approaches to audience fascination with film depictions of serious disturbances within the human psyche. Many films examined here have had little scholarly attention and commentary. These essays focus on how cinematic techniques contribute to popular culture's conception of mental dysfunction, trauma, and illness. This book reveals the complex artistic and generic patterns that produce contemporary images of psychopathology in cinema.

The book offers an interdisciplinary overview of the film and place relationship from an intercultural perspective. It explores the complex domain of place and space in cinema and the film industry's role in establishing cultural connections and economic cooperation between India and Europe. With contributions from leading international scholars, various case studies scrutinise European and Indian contexts, exploring both the established and emerging locations. The book extends the dominantly Britain-oriented focus on India’s cinema presence in Europe to European countries such as Italy, Switzerland, Poland, Slovenia, Finland, and Sweden, where the Indian film industry progressively expands its presence. The chapters of this book look at Indian film production in Europe as a cultural bridge between India and Europe, fostering mutual understanding of the culture and society of the two regions. This interdisciplinary book will be of interest to researchers in film studies, cultural anthropology, cultural geography, tourism, economics, sociology, and cultural studies. It will also be interest to practitioners working in local authorities, destination management, tourism, and creative business, all of whom see the value of film production in attracting visitors, investment, and creating new networks with local economic actors. The book offers much-needed data and tools to translate their professional goals and potentials into effective regional strategies and activities.