Film & Media Studies - Page 5

Metaphors of Igbo Worldviews on Ghosts as Mystical Realities: Interpretations of Filmic Portrayals as Archetypal and Imaginative Visual Aesthetics in Two Nollywood Films

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Emeka Aniago1, Chukwuemeka V. Okpara2 & Uche-Chinemere Nwaozuzu3

1 Senior Lecturer in Department of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria. ORCID id 0000-0003-3194-1463. Email Id:  emekaaniago@gmail.com   

2 Senior Lecturer in Department of Fine & Applied Arts, University of Nigeria, Nsukkka, Nigeria

3Associate Professor in Department of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria  

 Volume 12, Number 1, January-March, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n1.43

Abstract
This study examines the aesthetics and shades of portrayals of ghosts as supernatural and metaphysical realities in two Nollywood films Heart of a Ghost and A Ghost Story as representations of Igbo worldviews on ghosts’ realities. Our aim is to present an analytical explanation of the filmic attributions in relation to historical as well as the subsisting socio-cultural worldviews of the Igbo people regarding ghosts. Therefore to extrapolate on the subsumed Igbo worldviews and philosophies about ghosts in the selected films, this study adopts theoretical purviews on magical realism and Charles Peirce’s inclination on interpretive community theory as the preferred conceptual praxis. Furthermore, this study applies critical interpretive analysis as the adopted analytical approach. Thus, the relevance of these portrayals to the subsisting socio-cultural worldviews about ghosts among the Igbo forms part of our thematic purview. Essentially this study sufficiently provides plausible answers to questions bothering on whether ghosts exist in the manner portrayed in the two films, as well as plausible analysis of the significations of ghosts’ appearances in clothing and whether ghosts do change their clothing like humans from time to time.

Keywords: actual, archetypal, ghost, Igbo, imaginative visual aesthetics, magical realism, worldview

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Haptic Perception Meets Interface Aesthetics: Cultural Representations of Touchscreen Technology in the Aftermath of the iPhone 2007

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Katheryn Wright

Associate Professor, Core Division, Champlain College, USA

ORCID: orcid.org/0000-0002-6485-9549. Email: kwright@champlain.edu

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.02

Received August 10, 2017; Revised September 12, 2017; Accepted September 15, 2017; Published September 20,  2017.

Abstract

The touchscreen is something other than a boundary between real and illusory worlds, or what Anne Friedberg (2009) calls a “virtual window” (p. 96). The aesthetics of that ‘something else’ is not determined by the technology itself, but by its use in a myriad of cultural practices including how it is represented as a commodity and an experience. This article examines the representation of touchscreen technology following the release of the iPhone in 2007, comparing a Nine Inch Nails rock concert and Blackberry commercial from 2008 with Bjork’s album/app Biophilia and an American Express advertisement from 2011. Comparing these media experiences reveals a representational shift that occurs between the introduction of the touchscreen and the cultural integration of this technology just three years later. A focus on breaking through the frame of the screen shifts into screen interfaces as the building blocks for the virtual construction of “hybrid space” (De Souza e Silva, 2006).

 Keywords: screen, touch, interface, haptic, body

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