Turbo Film As Artistic Apparatus and As Manifesto for the Uncertain Future of Moving Images
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From Free Cinema to British New Wave: a Story of Angry Young Men
SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending. -
Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge
Centre for Research in the Arts, Social Sciences and Humanities Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge Invited speakers CHARLOTTE BRUNSDON (Film Studies, University of Warwick) TERESA CASTRO (Universite Sorbonne Nouvelle - Paris 3) RICHARD COYNE (Architectural Computing, Edinburgh College of Art), ROLAND-FRANÇOIS LACK and (French Studies, UCL) STEVE PILE (Human Geography, The Open University) ANDREW PRESCOTT (Digital Humanities, King’s College London) MARK SHIEL (Film Studies, King’s College London) PETER VON BAGH (Film Historian and Director, Helsinki) Conveners FRANÇOIS PENZ (University of Cambridge) RICHARD KOECK (University of Liverpool) ANDREW SAINT (English Heritage) CHRIS SPEED (Edinburgh College of Art) www.crassh.cam.ac.uk/events/2473 Battersea Power Station and Nine Elms, 1966, Aerofilms Collection, English Heritatge 1966, Aerofilms and Nine Station Elms, Power Battersea Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) Acknowledgements Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH), the Architecture Department, both at the University of Cambridge and the Arts and Humanities Research Council (AHRC). Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) | Alison Richard Building | 7 West Road Cambridge CB3 9DT | UK | www.crassh.cam.ac.uk Cinematic Urban Geographies Cinematic Urban Geographies 3 & 4 October 2013 at CRASSH (SG1&2) Conveners François Penz (Architecture Department, University of Cambridge) Co-Conveners Richard Koeck (School of Architecture, University of Liverpool) Chris Speed (Edinburgh College of Art) Andrew Saint (English Heritage) Summary The Cinematic Urban Geographies conference aims to explore the di!erent facets by which cinema and the moving image contribute to our understanding of cities and their topographies. -
The Grierson Effect
Copyright material – 9781844575398 Contents Acknowledgments . vii Notes on Contributors . ix Introduction . 1 Zoë Druick and Deane Williams 1 John Grierson and the United States . 13 Stephen Charbonneau 2 John Grierson and Russian Cinema: An Uneasy Dialogue . 29 Julia Vassilieva 3 To Play The Part That Was in Fact His/Her Own . 43 Brian Winston 4 Translating Grierson: Japan . 59 Abé Markus Nornes 5 A Social Poetics of Documentary: Grierson and the Scandinavian Documentary Tradition . 79 Ib Bondebjerg 6 The Griersonian Influence and Its Challenges: Malaya, Singapore, Hong Kong (1939–73) . 93 Ian Aitken 7 Grierson in Canada . 105 Zoë Druick 8 Imperial Relations with Polynesian Romantics: The John Grierson Effect in New Zealand . 121 Simon Sigley 9 The Grierson Cinema: Australia . 139 Deane Williams 10 John Grierson in India: The Films Division under the Influence? . 153 Camille Deprez Copyright material – 9781844575398 11 Grierson in Ireland . 169 Jerry White 12 White Fathers Hear Dark Voices? John Grierson and British Colonial Africa at the End of Empire . 187 Martin Stollery 13 Grierson, Afrikaner Nationalism and South Africa . 209 Keyan G. Tomaselli 14 Grierson and Latin America: Encounters, Dialogues and Legacies . 223 Mariano Mestman and María Luisa Ortega Select Bibliography . 239 Appendix: John Grierson Biographical Timeline . 245 Index . 249 Copyright material – 9781844575398 Introduction Zoë Druick and Deane Williams Documentary is cheap: it is, on all considerations of public accountancy, safe. If it fails for the theatres it may, by manipulation, be accommodated non-theatrically in one of half a dozen ways. Moreover, by reason of its cheapness, it permits a maximum amount of production and a maximum amount of directorial training against the future, on a limited sum. -
From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative. -
Lorenza Mazzetti
PRESS RELEASE LORENZA MAZZETTI Screening of Lorenza Mazzetti’s films ‘K’ (1953, 28’) and ‘Together’ (1956, 52’) followed by a conversation with Lorenza Mazzetti (in English) Monday 5 May 2014, 17.00 - 19.30, Sainsbury Lecture Theatre Orphaned of both parents at a very early age, Lorenza Mazzetti was raised, along with her twin sister Paola, by their paternal aunt Nina Mazzetti and uncle Robert Einstein (first cousin of Albert Einstein) and their two daughters. On 3 August 1944, the SS killed Lorenza’s aunt and cousins in the massacre of Rignano in Tuscany. Uncle Robert, devastated by the loss, took his life the following year. In the early 1950s Lorenza moved to London and was accepted as a student at the Slade School of Fine Art, where she made her first short film ‘K’, from Kafka’s ‘Metamorphosis’ (Gregor Samsa was played by fellow Slade student Michael Andrews). The British Film Institute Experimental Film Fund produced her second film ‘Together’, which tells the story of two deaf-mutes in the East End of London (played by Michael Andrews and Eduardo Paolozzi). The film, completed with the collaboration of Lindsay Anderson, was premiered as part of the first Free Cinema programme at the National Film Theatre in London in February 1956. Mazzetti participated in the writing of the manifesto of Free Cinema with Anderson, Karel Reisz and Tony Richardson. ‘Together’ was awarded a prize at the Cannes Film Festival 1956. Lorenza Mazzetti went back to Italy where she wrote her first book, ‘Il cielo cade’ which won the prestigious Viareggio Literary Prize in 1962 (translated into English as ‘The sky falls’, Bodley Head, 1962). -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
An Overview of the Working Classes in British Feature Film from the 1960S to the 1980S: from Class Consciousness to Marginalization
An Overview of the Working Classes in British Feature Film from the 1960s to the 1980s: From Class Consciousness to Marginalization Stephen C. Shafer University of Illinois Abstract The portrayal of the working classes has always been an element of British popular film from the comic music hall stereotypes in the era of Gracie Fields and George Formby in the 1930s to the more gritty realism of the “Angry Young Man” films that emerged in the 1950s and 1960s. Curiously, in the last thirty years, the portrayal of the working classes in popular film has become somewhat less sharply drawn and more indistinct. In an odd way, these changes may parallel criticisms directed toward politicians about a declining sense of working-class unity and purpose in the wake of the Margaret Thatcher and post-Thatcher eras. When noted English film director and commentator Lindsay Anderson was asked to contribute an overview article on the British cinema for the 1984 edi- tion of the International Film Guide, he ruefully observed that from the per- spective of 1983 and, indeed, for most of its history, “British Cinema [has been] . a defeated rather than a triumphant cause.”1 Referring to the perennial fi- nancial crises and the smothering effect of Hollywood’s competition and influ- ence, Anderson lamented the inability of British films to find a consistent na- tional film tradition, adding that “the British Cinema has reflected only too clearly a nation lacking in energy and the valuable kind of pride . which cher- ishes its own traditions.”2 In particular, Anderson observed that when, on occa- sion, the British film industry had attempted to address the interests and needs of its working classes, the “aims” of the film-makers “were not supported . -
1 Modular Narratives in Contemporary Cinema
Notes 1 Modular Narratives in Contemporary Cinema 1. Evan Smith also notes the success during the late 1990s of films featuring complex narrative structures, in terms of ‘impressive reviews, Oscar wins, and dollar-for-dollar returns’ (1999, 94). 2. Lev Manovich argues that narrative and database are two distinct and com- peting cultural forms: ‘the database represents the world as a list of items, and it refuses to order this list. In contrast, a narrative creates a cause-and-effect trajectory of seemingly unordered items (events)’ (2001b, 225). As I discuss in Chapter 2, Manovich’s argument must be qualified by an understanding of narrative’s ability to make use of the database for its own ends. 3. Manuel Castells, for example, argues that the dominant temporality of today’s ‘network society’, produced through technologization, globalization and instantaneous communication, is ‘timeless time’ (2000, 494): ‘Time is erased in the new communication system when past, present, and future can be programmed to interact with each other in the same message’ (406). 4. Ricoeur’s analysis centres upon Mann’s The Magic Mountain (1924), Woolf’s Mrs. Dalloway (1925) and Proust’s In Search of Lost Time (1913–27). 5. Syuzhet patterning, argues Bordwell, is medium-independent; the same pat- tern could be reproduced, for example, across literature, theatre and cinema (1985, 49). 6. In his treatment of order, duration and frequency, Bordwell is drawing upon the work of narratologist Gérard Genette. Like Bordwell, Genette distin- guishes between the narrative content (‘story’) and the way this content is organized and expressed (‘discourse’) (1980, 27). -
Film and Visual Culture
FILM AND VISUAL CULTURE Introduction: The Crisis in Film Studies The impact of digital technologies and the rise of New Media Studies has had a significant impact on Film Studies which, according to some commentators, is currently experiencing a crisis of legitimation in which its historical, theoretical, methodological and ontological foundations have been called into question. The material basis of that film shared with photography – the effect of light striking and altering a strip of chemically treated paper which creates a physical, indexical connection to the world (the trace of the particular instant in time that has been captured) – has now been severed through digital transpositions into algorithmic numbers. The disappearance of the supposedly specific qualities of film as a medium, the realism of the image and the mechanical reproduction of the camera, has led to widespread pronouncements about the „death of cinema‟ (see Geuens 2002, Tryon 2007: 73-6); if film was the dominant cultural form of the twentieth century, the twenty-first will belong to „new media‟.1 As a consequence, it is often argued, by both academics and practitioners, that we are living now in an era of „post-cinema‟, or what Richard Grusin has more helpfully identified as a „cinema of interactions‟, in which film has become a distributed form, circulating in various guises across a range of different media, and where the distinctive social and cultural ritual of watching a theatrically projected film is in the process of being replaced by a diffused continuum in which the viewer or user interacts with a digital artifact in various locations in a multiplicity of ways. -
Popular Culture Resources for Educators, Librarians, Parents, and Fans
Popular Culture Resources for Educators, Librarians, Parents, and Fans 2nd Edition By Elizabeth Vondran and Jazmine Martin Edited by J. Holder Bennett Suggested citation: Vondran, Elizabeth, and Jazmine Martin. Popular Culture Resources for Educators, Librarians, Parents, and Fans. 2nd ed. Ed. J. Holder Bennett. Denton, TX: Fandom and Neomedia Studies (FANS) Association, 2013. The FANS Association takes no position on the accuracy or content of the individual documents cited within this bibliography; accordingly, all views expressed therein should be understood to be those of the individual authors. This document is an open access publication free for all to use under the terms of Creative Commons Attribution Non-Commercial 3.0 Unported License. © Fandom and Neomedia Studies (FANS) Association, 2013. All rights reserved. Fandom and Neomedia Studies Association Phoenix Entertainment Group, LLC PO Box 298 Denton, Texas 76202 1 | P a g e Contents Foreword ......................................................................................................................................... 3 Books ……………………………………………………………………………………………..5 Book Chapters ............................................................................................................................... 83 Articles .......................................................................................................................................... 88 Dissertations and Theses ............................................................................................................ -
Making (With) the Korsakow System 159 Given to Supporting Software It Deems to Be Outmoded
- --- --------------- -- -------------~--- Makin g (with) the Korsakow System 155 2. The push, among certain 'traditional' media producers, to explore alternative platforms and audiences, for example, the National Film 10 Board of Canada's (NFB) highly successful interactive film unit and Making (with) the Korsakow the production of online content by ARTE(the European television network). System 3. New sources of funding and exhibition (IDFA DocLab; Tribeca Film lnstitute's New Media Fund). Database Documentaries as Articulation 4. The establishment of faster computer networks for distributing and and Assemblage delivering higher quality video content, at least in regions and coun tries with relatively advanced economies and IT infrastructures. Matt Soar 5. The wide availability of more powerful, easy-to-use computers for creating and viewing work, and more reliable handling of complex media content. 6. The emergence and rapid expansion of an online 'read-write' culture Introduction (Lessig 2008). 7. The rising costs of 'traditional ' or 'cinematic ' (Burdick et al. 2012) 3W Doc, Djehouti, Klynt, Korsakow, Storyplanet, Zeega. These are just documentary filmmaking versus the relatively low cost of documen some of the tools, many of them free and open source, currently avail tary projects conceived for the web.3 At least one filmmaker has told able for creating non-linear and /or interactive narratives for and/or on me that she began making web docs not because of the attractiveness the web. Each has been used to create web-based documentaries. All of the medium but because she couldn 't find the funding to pursue claim to be easy to use, with drag-and-drop interfaces, and no program her 'regular' cinematic practice. -
'I Watch It for Historic Reasons.' Representation and Reception of The
‘I watch it for historic reasons.’ Representation and reception of the Middle Ages in A Song of Ice and Fire’ and ‘Game of Thrones’ Riccardo Facchini Práticas da História, n.º 4 (2017): 43-73 www.praticasdahistoria.pt Práticas da História, n.º 5 (2017): 43-73 Riccardo Facchini ‘I watch it for historic reasons.’ Representation and reception of the Middle Ages in A Song of Ice and Fire’ and ‘Game of Thrones’ This article aims to analyse several ideas of the Middle Ages that inspired HBO’s TV show Game of Thrones (HBO 2011-), based on George R. R. Martin’s ongoing series of novels A Song of Ice and Fire (1996-). The phenomenon will be read through the concept of “medievalism”, i.e. «the representation, the recep- tion and the post-medieval use of the Middle Ages» (di Carpeg- na Falconieri 2011). After a short introduction concerning the Middle Ages and cinema, I will analyse the new way in which Martin represents and perceives medieval times. This different approach places in the medieval era the disillusionment and the alleged absence of values typical of postmodern times, often hidden behind the notion of historical “realism”. The result is a rejection of the neo-medieval romantic idealization of the Midd- le Ages that characterized most twentieth-century productions. Keywords: Medievalism, Middle Ages, Game of Thrones, A Song of Ice and Fire, Fantasy. “I watch it for historic reasons”: Representação e receção da Idade Média em As Crónicas de Gelo e Fogo e Guerra dos Tronos Este artigo analisa as diversas perceções da Idade Média que inspiraram a série televisiva da HBO Guerra dos Tronos (HBO 2011-), baseada na série de livros de George R.