DRAMA, FILM AND TELEVISION CONFERENCE


Drama, Film and Television Conference is one of the leading research topics in the international research conference domain. Drama, Film and Television is a conference track under the Humanities and Social Science Conference which aims to bring together leading academic scientists, researchers and research scholars to exchange and share their experiences and research results on all aspects of Humanities and Social Science.

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I. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

MARCH 19 - 20, 2019
ISTANBUL, TURKEY

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III. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

AUGUST 21 - 22, 2019
LONDON, UNITED KINGDOM

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IV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

OCTOBER 08 - 09, 2019
NEW YORK, UNITED STATES

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V. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 12 - 13, 2019
ROME, ITALY

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VI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

FEBRUARY 13 - 14, 2020
LONDON, UNITED KINGDOM

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VII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

APRIL 15 - 16, 2020
BARCELONA, SPAIN

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VIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

MAY 11 - 12, 2020
ISTANBUL, TURKEY

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IX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JUNE 05 - 06, 2020
SAN FRANCISCO, UNITED STATES

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X. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JULY 20 - 21, 2020
PARIS, FRANCE

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XI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

AUGUST 10 - 11, 2020
NEW YORK, UNITED STATES

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XII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 10 - 11, 2020
TOKYO, JAPAN

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XIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 16 - 17, 2020
ZÜRICH, SWITZERLAND

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XIV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

OCTOBER 21 - 22, 2020
BARCELONA, SPAIN

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XV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 02 - 03, 2020
SAN FRANCISCO, UNITED STATES

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XVI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 12 - 13, 2020
ISTANBUL, TURKEY

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XVII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 19 - 20, 2020
SINGAPORE, SINGAPORE

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XVIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 15 - 16, 2020
BANGKOK, THAILAND

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XIX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 28 - 29, 2020
PARIS, FRANCE

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XX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

FEBRUARY 13 - 14, 2021
LONDON, UNITED KINGDOM

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XXI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

APRIL 15 - 16, 2021
BARCELONA, SPAIN

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XXII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

MAY 11 - 12, 2021
ISTANBUL, TURKEY

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XXIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JUNE 05 - 06, 2021
SAN FRANCISCO, UNITED STATES

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XXIV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

JULY 20 - 21, 2021
PARIS, FRANCE

FINISHED

XXV. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

AUGUST 10 - 11, 2021
NEW YORK, UNITED STATES

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XXVI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 10 - 11, 2021
TOKYO, JAPAN

FINISHED

XXVII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

SEPTEMBER 16 - 17, 2021
ZÜRICH, SWITZERLAND

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XXVIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

OCTOBER 21 - 22, 2021
BARCELONA, SPAIN

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XXIX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 02 - 03, 2021
SAN FRANCISCO, UNITED STATES

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XXX. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 12 - 13, 2021
ISTANBUL, TURKEY

FINISHED

XXXI. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

NOVEMBER 19 - 20, 2021
SINGAPORE, SINGAPORE

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XXXII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 15 - 16, 2021
BANGKOK, THAILAND

FINISHED

XXXIII. INTERNATIONAL HUMANITIES AND SOCIAL SCIENCE CONFERENCE

DECEMBER 28 - 29, 2021
PARIS, FRANCE

Humanities and Social Science Conference Call For Papers are listed below:

Previously Published Papers on "Drama, Film and Television Conference"

  • Modern Tragic Substance in O’Neill’s Desire under the Elms and Mourning Becomes Electra
    Authors: Azza Taha Zaki, Keywords: classical, drama, O'Neill, modern, tragic DOI:10.5281/zenodo. Abstract: The position Eugene O’Neill occupies in the history of American drama is undisputable. Critics have agreed that the American theatre was waiting for O’Neill to give it substance, character, and value. The American dramatist continues to be considered as a major influence on the body of dramatic repertoire across the globe. The American theatre before O’Neill knew playwrights who were mostly viewed as entertainers. The serious drama had to wait until O’Neill started his career with expressionistic and social drama. His breakthrough, however, came in 1925 when he published Desire Under the Elms, described as the first important tragedy to be written in America. Mourning Becomes Electra, published in 1931, further reinforced the reputation of Eugene O’Neill and was described as his 'magnum opus'. Aspiring to portray the essence of life and man’s innermost conflicts, O’Neill turned to the classical model, rather than to social realistic drama, to create modern tragedies with the aid of the then-new science of psychology. The present paper aims to undertake an in-depth study of how overtones from classical tragedies by the classical masters Aeschylus, Sophocles, and Euripides resonate through O’Neill’s two plays. The paper shows how leaning on classical themes and concepts interpreted in terms of psychological forces have added depth and tragic substance to a modern milieu and produced masterpieces of dramaturgy.
  • Affective Approach to Selected Ingmar Bergman Films
    Authors: Grzegorz Zinkiewicz, Keywords: Affect theory, experimental cinema, Ingmar Bergman, film as autonomous entity. DOI:10.5281/zenodo. Abstract: The paper explores affective potential implicit in Bergman’s movies. This is done by the use of affect theory and the concept of affect in terms of paradigmatic and syntagmatic relations, from both diachronic and synchronic perspective. Since its inception in the early 2000s, affect theory has been applied to a number of academic fields. In Film Studies, it offers new avenues for discovering deeper, hidden layers of a given film. The aim is to show that the form and content of the films by Ingmar Bergman are determined by their inner affects that function independently of the viewer and, to an extent, are autonomous entities that can be analysed in separation from the auteur and actual characters. The paper discovers layers in Ingmar Bergman films and focuses on aspects that are often marginalised or studied from other viewpoints such as the connection between the content and visual side. As a result, a revaluation of Bergman films is possible that is more consistent with his original interpretations and comments included in his lectures, interviews and autobiography.
  • Under the ‘Fourth World’: A Discussion to the Transformation of Character-Settings in Chinese Ethnic Minority Films
    Authors: Sicheng Liu, Keywords: Fourth world, Chinese ethnic minority films, ethnicity and culture reflection, mother tongue (muyu), highlighting to individual spirits. DOI:10.5281/zenodo.3566371 Abstract: Based on the key issue of the current fourth world studies, the article aims to analyze the features of character-settings in Chinese ethnic minority films. As a generalizable transformation, this feature progresses from a microcosmic representation. It argues that, as the mediation, films note down the current state of people and their surroundings, while the ‘fourth world’ theorization (or the fourth cinema) provides a new perspective to ethnic minority topics in China. Like the ‘fourth cinema’ focusing on the depiction of indigeneity groups, the ethnic minority films portrait the non-Han nationalities in China. Both types possess the motif of returning history-writing to the minority members’ own hand. In this article, the discussion entirely involves three types of cinematic role-settings in Chinese minority themed films, which illustrates that, similar to the creative principle of the fourth film, the themes and narratives of these films are becoming more individualized, with more concern to minority grassroots.
  • Harrison’s Stolen: Addressing Aboriginal and Indigenous Islanders Human Rights
    Authors: M. Shukry, Keywords: Aboriginal, audience, Australia, children, culture, drama, home, human rights, identity, indigenous, Jane Harrison, memory, scenic effects, setting, stage, stage directions, Stolen, trauma. DOI:10.5281/zenodo.3461976 Abstract: According to the United Nations Declaration of Human Rights in 1948, every human being is entitled to rights in life that should be respected by others and protected by the state and community. Such rights are inherent regardless of colour, ethnicity, gender, religion or otherwise, and it is expected that all humans alike have the right to live without discrimination of any sort. However, that has not been the case with Aborigines in Australia. Over a long period of time, the governments of the State and the Territories and the Australian Commonwealth denied the Aboriginal and Indigenous inhabitants of the Torres Strait Islands such rights. Past Australian governments set policies and laws that enabled them to forcefully remove Indigenous children from their parents, which resulted in creating lost generations living the trauma of the loss of cultural identity, alienation and even their own selfhood. Intending to reduce that population of natives and their Aboriginal culture while, on the other hand, assimilate them into mainstream society, they gave themselves the right to remove them from their families with no hope of return. That practice has led to tragic consequences due to the trauma that has affected those children, an experience that is depicted by Jane Harrison in her play Stolen. The drama is the outcome of a six-year project on lost children and which was first performed in 1997 in Melbourne. Five actors only appear on the stage, playing the role of all the different characters, whether the main protagonists or the remaining cast, present or non-present ones as voices. The play outlines the life of five children who have been taken from their parents at an early age, entailing a disastrous negative impact that differs from one to the other. Unknown to each other, what connects between them is being put in a children’s home. The purpose of this paper is to analyse the play’s text in light of the 1948 Declaration of Human Rights, using it as a lens that reflects the atrocities practiced against the Aborigines. It highlights how such practices formed an outrageous violation of those natives’ rights as human beings. Harrison’s dramatic technique in conveying the children’s experiences is through a non-linear structure, fluctuating between past and present that are linked together within each of the five characters, reflecting their suffering and pain to create an emotional link between them and the audience. Her dramatic handling of the issue by fusing tragedy with humour as well as symbolism is a successful technique in revealing the traumatic memory of those children and their present life. The play has made a difference in commencing to address the problem of the right of all children to be with their families, which renders the real meaning of having a home and an identity as people.
  • Early Republican Period of Turkey in Yeşilçam Cinema
    Authors: Deniz Gürgen Atalay, Keywords: Historiography, Historical Film, Yeşilçam Cinema, Early Republican Period of Turkey DOI:10.5281/zenodo.2707918 Abstract: Among the historical dramas of Yeşilçam Cinema in Turkey, the films that narrate the tales of the Independence War and the Foundation of the Turkish Republic reserve a respectable portion. There are 64 films produced between 1923 and 1974 that represent the historical period. The dominance of nationalist discourses on the historical films to narrate the Indepence War and the Foundation Process in Yeşilçam Cinema broadly reflects the discourse of the official historiography of Turkish Republic. The antagonistic representation of the non-Muslim groups and ethnic diversities in Ottoman society in the historical Yeşilçam films of Independence War would be interpreted through the impact of nationalism in Turkish politics. The prominence of the nationalistic discourses to structure the filmic historiography of the Early Republican Period in Yeşilçam Cinema exhibits the impact of the official state ideology on the culture and society in Turkey until the 90s.
  • The Representation of Female Characters by Women Directors in Surveillance Spaces in Turkish Cinema
    Authors: Berceste Gülçin Özdemir, Keywords: Feminist film theory, representation, space, women filmmaker, women characters. DOI:10.5281/zenodo.1340184 Abstract: The representation of women characters in cinema has been discussed for centuries. In cinema where dominant narrative codes prevail and scopophilic views exist over women characters, passive stereotypes of women are observed in the representation of women characters. In films shot from a woman’s point of view in Turkish Cinema and even in the films outside the main stream in which the stories of women characters are told, the fact that women characters are discussed on the basis of feminist film theories triggers the question: ‘Are feminist films produced in Turkish Cinema?’ The spaces that are used in the representation of women characters are observed to be used as spaces that convert characters into passive subjects on the basis of the space factor in the narrative. The representation of women characters in the possible surveillance spaces integrates the characters and compresses them in these spaces. In this study, narrative analysis was used to investigate women characters representation in the surveillance spaces. For the study framework, firstly a case study films are selected, and in the second level, women characters representations in surveillance spaces are argued by narrative analysis using feminist film theories. Two questions are argued with feminist film theories: ‘Why do especially women directors represent their female characters to viewers by representing them in surveillance spaces?’ and ‘Can this type of presentation contribute to the feminist film practice and become important with regard to feminist film theories?’ The representation of women characters in a passive and observed way in surveillance spaces of the narrative reveals the questioning of also the discourses of films outside of the main stream. As films that produce alternative discourses and reveal different cinematic languages, those outside the main stream are expected to bring other points of view also to the representation of women characters in spaces. These questionings are selected as the baseline and Turkish films such as Watch Tower and Mustang, directed by women, were examined. This examination paves the way for discussions regarding the women characters in surveillance spaces. Outcomes can be argued from the viewpoint of representation in the genre by feminist film theories. In the context of feminist film theories and feminist film practice, alternatives should be found that can corporally reveal the existence of women in both the representation of women characters in spaces and in the usage of the space factor.
  • Create and Design Visual Presentation to Promote Thai Cuisine
    Authors: Supaporn Wimonchailerk, Keywords: Media production, television, promote, Thai cuisine. DOI:10.5281/zenodo.1129852 Abstract: This research aims to study how to design and create the media to promote Thai cuisine. The study used qualitative research methods by using in-depth interview 3 key informants who have experienced in the production of food or cooking shows in television programs with an aspect of acknowledging Thai foods. The results showed that visual presentation is divided into four categories. First, the light meals should be presented in details via the close-up camera with lighting to make the food look more delicious. Then the curry presentation should be arranged a clear and crisp light focus on a colorful curry paste. Besides the vision of hot steam floating from the plate and a view of curry spread on steamed rice can call great attentions. Third, delivering good appearances of the fried or spicy foods, the images must allow the audiences to see the shine of the coat covering the texture of the food and the colorful of the ingredients. Fourth, the presentation of sweets is recommended to focus on details of food design, composition, and layout.
  • Auteur 3D Filmmaking: From Hitchcock’s Protrusion Technique to Godard’s Immersion Aesthetic
    Authors: Delia Enyedi, Keywords: Alfred Hitchcock, authorship, 3D filmmaking, Jean-Luc Godard, perceptual absorption, perceptual immersion. DOI:10.5281/zenodo.1340120 Abstract: Throughout film history, the regular return of 3D cinema has been discussed in connection to crises caused by the advent of television or the competition of the Internet. In addition, the three waves of stereoscopic 3D (from 1952 up to 1983) and its current digital version have been blamed for adding a challenging technical distraction to the viewing experience. By discussing the films Dial M for Murder (1954) and Goodbye to Language (2014), the paper aims to analyze the response of recognized auteurs to the use of 3D techniques in filmmaking. For Alfred Hitchcock, the solution to attaining perceptual immersion paradoxically resided in restraining the signature effect of 3D, namely protrusion. In Jean-Luc Godard’s vision, 3D techniques allowed him to explore perceptual absorption by means of depth of field, for which he had long advocated as being central to cinema. Thus, both directors contribute to the foundation of an auteur aesthetic in 3D filmmaking.
  • Freedom of Expression and Its Restriction in Audio Visual Media
    Authors: Sevil Yildiz, Keywords: Audio visual media, freedom of expression, its limits, Radio and Television Supreme Council. DOI:10.5281/zenodo.1338528 Abstract: Audio visual communication is a type of collective expression. Due to inform the masses, give direction to opinions, and establish public opinion, audio visual communication must be subjected to special restrictions. This has been stipulated in both the Constitution and the European Human Rights Agreement. This paper aims to review freedom of expression and its restriction in audio visual media. For this purpose, the authorization of the Radio and Television Supreme Council to impose sanctions as an independent administrative authority empowered to regulate the field of audio visual communication has been reviewed with regard to freedom of expression and its limits.
  • Strategic Risk Issues for Film Distributors of Hindi Film Industry in Mumbai: A Grounded Theory Approach
    Authors: R. Dyondi, S. K. Jha, Keywords: Entrepreneurial Risk Behavior, Film Distribution Strategy, Hindi Film Industry, Risk. DOI:10.5281/zenodo.1107872 Abstract: The purpose of the paper is to address the strategic risk issues surrounding Hindi film distribution in Mumbai for a film distributor, who acts as an entrepreneur when launching a product (movie) in the market (film territory).The paper undertakes a fundamental review of films and risk in the Hindi film industry and applies Grounded Theory technique to understand the complex phenomena of risk taking behavior of the film distributors (both independent and studios) in Mumbai. Rich in-depth interviews with distributors are coded to develop core categories through constant comparison leading to conceptualization of the phenomena of interest. This paper is a first-of-its-kind-attempt to understand risk behavior of a distributor, which is akin to entrepreneurial risk behavior under conditions of uncertainty.

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