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Chariton Stepanov
Chariton Stepanov

7.4 120 Adventure Drama


Starring Hollywood powerhouse Viola Davis as the leader of the all-woman West African army of the kingdom of Dahomey, "The Woman King" melds historical drama with epic battle scenes with beautifully cinematic filmography. It's also a rare film featuring a Black cast and a Black crew in key positions. The film is not without controversy, though: Historians noted the fictionalized characters inaccurately portrayed the warriors' role in the transatlantic slave trade.




7.4 120 Adventure Drama



Michelle (Mary Elizabeth Winstead) wakes up in a bunker after a car accident. Her captor (John Goodman) convinces her the outside air is compromised and will kill them. Michelle becomes suspicious of his behavior and eventually discovers the facts for herself. Her race for the truth and freedom drives this intense drama.


After decades of leading roles in Hong Kong action movies, Michelle Yeoh shines with her unique combination of acting, comedic, and martial arts skills in "Everything Everywhere All at Once." Her award-winning performance as laundromat owner and accidental superhero Evelyn elevates the extraordinary work of mothers, homemakers, and immigrants, who all harbor a superhero side in their everyday lives. Stephanie Hsu's performance as the villain and Evelyn's queer daughter struggling for acceptance adds another fascinating dimension to this action-packed sci-fi adventure.


Swedish auteur Ingmar Bergman often employs a cold and stark tonality, making winter weather a fitting backdrop for his work. This acclaimed drama makes up part of an informal trilogy about faith and takes place on a frigid Sunday. Already questioning his relationship with God, a small-town priest is thrown into further conflict by the love of a woman.


Drawing from stories by Chekhov and Dostoyevsky, this Turkish drama centers on a wealthy hotel owner in a snowy village. Literal storms are matched by metaphorical ones as the story unravels, exploring themes of family struggle and class division. It won both the Palme d'Or and the FIPRESCI Prize at the 2014 Cannes Film Festival.


Gifted with magical powers, a new queen accidentally turns her kingdom into a permanent winter wonderland. Hoping to lift the spell, the queen's sister embarks on an epic adventure. Disney's computer-animated musical was a blockbuster smash, earning over $1.2 billion at the global box office and spawning a hit sequel.


This historical drama takes place during Christmas in the year A.D. 1183 and plays loosely on Shakespeare's "King Lear." Peter O'Toole stars as King Henry II, who must decide which of his three sons shall inherit the throne. It won three Academy Awards, including Best Actress for Katharine Hepburn (in a rare tie with Barbra Streisand for "Funny Girl").


Leonardo DiCaprio went full survivalist when making this historical drama, sleeping in animal carcasses and risking hypothermia. It tells the (supposedly) true story of 19th-century frontiersman Hugh Glass, who's left for dead after being mauled by a bear. His path of revenge plays out against a brutal terrain of dangerous weather and people alike. The film won three Academy Awards, including Best Actor for DiCaprio.


Drawing from stories by Chekhov and Dostoyevsky, this Turkish drama centers on a wealthy hotel owner in a snowy village. Literal storms are matched by metaphorical ones as the story unravels, exploring themes of family struggle and class division. It won the Palme d'Or at the 2014 Cannes Film Festival.


Jennifer Lawrence delivered her breakout performance in this tense drama, playing destitute Ozark Mountain teen Ree Dolly. To save her family from homelessness, Ree must break with outlaw codes and locate her criminal father. Her subsequent journey plunges straight into the heart of darkness, where potential danger lurks behind every tattered door. The film's use of cold weather drives home its dreary and despairing vibe.


The results of the channel analysis revealed 169 different media across 11 categories of channels (Table 3). The most commonly used channel was television (17.8%, N = 30). The second-most-common channel was computer or online media (17.2%, N = 29), which indicates an increase in EE programs using new digital media technologies corresponding to the increased proliferation of Internet access around the world in recent years. Radio (14.2%, N = 24%), print media (13.6%, N = 23), and live performance (10.7%, N = 18) rounded out the top five most commonly used media. Of the 126 manuscripts, 98 (77.8%) utilized single-channel approaches, whereas only 28 (22.2%) utilized multichannel approaches. Bae and Kang (2008), for example, examined viewers and nonviewers of an EE reality show in Korea (single-channel approach), while Rispel, Peltzer, Nkomo, and Molomo (2010) evaluated a television drama, radio drama, coloring booklets, and a school program for HIV/AIDS knowledge and behavior change in South Africa (multiple-channel approach).


Historically, the EE literature has focused on examining the results of large-scale EE efforts (Rogers et al., 1999; Storey, Boulay, Karki, Heckert, & Karmacharya, 1999; Usdin, Scheepers, Goldstein, & Japhet, 2005). Some findings from this review of articles from the past decade included continued large-scale efforts designed to change individual and social behavior at the population level. For example, Do and Kincaid (2006) examined the impact of an EE television drama on health behaviors in Bangladesh and used a sample size of over 4,000 men and women. This review, however, indicates that the last decade has seen a shift in the literature from large-scale evaluations to smaller and more nuanced studies, with smaller sample sizes aimed at examining the extent to which EE programs can meet the needs of hard-to-reach and disadvantaged populations (Jackson, Mullis, & Hughes, 2010; Cabassa, Contreras, Aragón, Molina, & Baron, 2011), examining the effects of specific and novel types of channels and genres (Shrimpton & Hurworth, 2005; Peng, 2009; Jin, 2010; Ramafoko, Anderson, & Weiner, 2012; Knight, 2013; Prybutok, 2013; Leung, Tripicchio, Agaronov, & Hou, 2014; Mcginnis et al., 2014), and generating understanding on how audiences interact with EE and examining processes through which EE programs work through experimenting in controlled environments (Moyer-Gusé, 2010; Moyer-Gusé & Nabi, 2011; Moyer-Gusé, Chung, & Jain, 2011; Moyer-Gusé, Mahood, & Brookes, 2011; Sangalang, Quintero Johnson, & Ciancio, 2013; Schouten, Vlug-Mahabali, Hermanns, Spijker, & van Weert, 2014).


Three key points emerged from comparisons across theory, practice, and research domains. For example, a review of channels and genres revealed the importance of drama and narrative structure in EE. The goals, location, and research design elements in this review indicated the importance of engaging multiple stakeholders. Finally, a comparison of the topics, channels, and levels of influence indicated a reliance on singular topics, channels, and levels of influence. 041b061a72


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