Patricia Highsmith’s stated reason for writing The Talented Mr. Ripley (1955) was to see if she could elicit empathetic engagement her immoral protagonist Tom Ripley. Amongst other factors, achieves goal by allowing readers align affectively with the protagonist’s road self-discovery. Her experiment culminates Tom’s fruition into an aggressive consumer, thus resolving his and readers’ apprehens...

This article examines the cinema of Dutch feminist filmmaker Marleen Gorris in light Julia Kristeva's concept ‘Women's Time’ and more recent attempts to conceptualise a temporality that is lived ‘in feminine’ but not, as is, either outside historical time – cyclic and/or monumental or aligned repetitive drudgery domestic labour. Drawing on Lisa Baraitser's ‘unbecoming time’, ‘will not unfold’ e...

Between 1975 and 1977, filmmaker Stanley Kubrick secretly campaigned to overturn the new tax provisions of Labour government’s 1974 Finance Act. His aim was develop a crisis narrative in which legislation that affected amount earnings foreign residents would pay on UK deemed directly responsible for imminent absolute collapse British film industry. Drawing archival sources from Archive, Harold ...

Dersu Uzala (1975), directed by Akira Kurosawa, the renowned Japanese filmmaker, in conjunction with Russia’s Mosfilm Studios, presents a seemingly simple human drama played out in an uncharted area of Siberia. With a screenplay based on Vladimir Arseniev’s 1941 nonfiction account of his experience with a nomadic trapper, Dersu Uzala was Kurosawa’s second color movie and his first movie outside...

Abstract This article engages with French filmmaker Jean Painlevé’s experimental shorts on the physiognomy and behavior of marine animals. The argues that films establish a corporeal nonlinguistic mode interspecies communication draws upon spectators’ immediate emphatic empathetic reactions to animal creatures on-screen. By evoking affective responses below visible audible registers, place huma...

During Ramadhan month in the 2000s, most Indonesian TV stations used to air Islamic-themed soap operas. However, stories of those operas did not represent Islamic values. Rather than showing messages their stories, scenes were all about melodrama and mysticism. This research aims analyze compare two Islamic-labeled operas, Lorong Waktu 3 (2002) Kiamat Sudah Dekat (2005), claimed as real by Dedi...