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Exploring Temporality and Identity in Wong Kar‐Wai's Days Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PDXScholar PSU McNair Scholars Online Journal Volume 3 Issue 1 Identity, Communities, and Technology: On the Article 18 Cusp of Change 2009 Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046 Julie Nakama Portland State University Let us know how access to this document benefits ouy . Follow this and additional works at: http://pdxscholar.library.pdx.edu/mcnair Recommended Citation Nakama, Julie (2009) "Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046," PSU McNair Scholars Online Journal: Vol. 3: Iss. 1, Article 18. 10.15760/mcnair.2009.127 This Article is brought to you for free and open access. It has been accepted for inclusion in PSU McNair Scholars Online Journal by an authorized administrator of PDXScholar. For more information, please contact [email protected]. Portland State University McNair Research Journal 2009 Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046 by Julie Nakama Faculty Mentor: Mark Berrettini Citation: Nakama, Julie. Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046. Portland State University McNair Scholars Online Journal, Vol. 3, 2009: pages [127‐153] McNair Online Journal Page 1 of 27 Time after Time: Exploring Temporality and Identity in Wong Kar-wai’s Days of Being Wild, In the Mood for Love, and 2046 Julie Nakama Mark Berrettini, Faculty Mentor Wong Kar-wai is part of a generation of Hong Kong filmmakers whose work can be seen in response to two pivotal events in Hong Kong, the 1984 signing of the Sino-British Joint Declaration detailing Hong Kong’s return to China in 1997 and the events of Tiananmen Square in 1989. -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries. -
As Promised, Faculty, Admin, and Tech Have All Been Coming up with Works to Watch While Shuttered Inside (In the Physical, and Not Psychological, Sense)
As promised, Faculty, Admin, and Tech have all been coming up with works to watch while shuttered inside (in the physical, and not psychological, sense). We will have more forthcoming from other members of the department, I’d hope next week, to get you through the exam period and beyond. The range below is eclectic, at times challenging, and most of all fun of all sorts. A lot of the material is easily streamable and/or downloadable; I’m sure there are other ways you can find material too. We hope you find stuff here to get you through the days and nights and days and nights and days and nights. We are all in this together, so feel free to come up with lists (on your own, or even better, get together digitally and socialize) of works you think faculty, admin, and techs ought to be watching. Teach us something and make it a two- way street! UPDATE, April 14: See below for new recommendations from Adonay, Tama, and Karine! Films for Students: From Karine Here is my Top Ten list of Road Movies (from around the world) to watch while in Quarantine (Traveling without risk): 1. Traveling to France: Agnes Varda's Faces Places (2017). 2. Traveling to Germany: Wim Wenders' Kings of the Road (1976). 3. Traveling to New Zealand: Taika Waititi's Hunt for the Wilderpeople (2016). 4. Traveling to Mexico: Alfonso Curaon's Y Tu Mama Tambien (2001) 5. Traveling to Argentina: Lucrecia Martel's La Mujer Sin Cabeza (2008) 6. Traveling to Australia: Ivan Sen's Beneath Clouds (2002) 7. -
The Filmic Bodies of Wong Kar-Wai
The Filmic Bodies of Wong Kar-wai Louise Malcolm A Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Arts and Media University ofNew South Wales August 2013 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Malcolm First name: Louise Other name/s: Anne Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: The Filmic Bodies of Wong Kar-wai Abstract 350 words maximum: (PLEASE TYPE) This thesis analyses the films of Wong Kar-wai as important examples of affective film performance. It ~xp l ores the particular performative and cinematic techniques found in his work. Through the close examination of these techniques this thesis suggests how Wong creates conditions for spectators to engage bodily with performing bodies on screen. The thesis treats film performance as a matter of film style, seeing it as always constructed through combinations of the performing body, the camera and the edit. It approaches performance on film as a filmic body; an amalgam of performative and cinematic techniques inextricably melded together. This thesis sets up fragmentation as the key trait of Wong's film style, central to his filmic bodies and to the way spectators may engage affectively with them. In particular, the thesis addresses how multiple levels of fragmentation, both performative and cinematic, operate in concert. Visual, temporal and spatial tragmentation are analysed as central components of Wong's filmic bodies in this regard. Further, this stylistic analysis suggests a notion of affective intertextuality, based on stylistic connections between his films, as vital to how spectators can engage bodily with his filmic bodies. -
THIS ISSUE: Comedy
2014-2015 September ISSUE 1 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Comedy www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS Patron 2 Connections Professor Jonothan Neelands, by Rebecca Kohler National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education 3 Comedy d’un jour and Chair of Creative Education in the Warwick Business School (WBS) at the University of by Francois Zanini Warwick. 4 Learning through humour Board of trustees by Mike Pasternak Iain Stirling (chair), Scotland Formerly Superintendent, Advanced Learning Schools, Riyadh. Recently retired. 8 Desperately seeking the laughs Jen Tickle (vice chair), Jamaica by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – the comic actor in Chinese opera Dinos Aristidou, UK by Chris Ng Freelance writer, director, consultant. 11 Directing comedy Alan Hayes, Belgium by Sacha Kyle Theatre teacher International School Brussels. Sherri Sutton, Switzerland 12 Videotape everything, change and be Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. grateful Jess Thorpe, Scotland by Dorothy Bishop Co Artistic Director of Glas(s) Performance and award winning young people’s company 13 Seriously funny Junction 25. Visiting. Lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. by Stephen Finegold Honorary life members 15 How I got the best job in the world! Dinos Aristidou, UK Being a clown, being a -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
CC-Film-List
CC’s (incomplete, constantly evolving) list of “must-see” filmmakers and their films Buster Keaton: The General; Sherlock, Jr.; Steamboat Bill, Jr.; The High Sign; Our Hospitality Lucretia Martel: The Swamp; The Holy Girl; The Headless Woman Hirokazu Kore-Eda: Maborosi; Afterlife; Nobody Knows; Still Walking Terence Davies: Distant Voices, Still Lives; The Long Day Closes, The House of Mirth, The Deep Blue Sea Charles Burnett: Killer of Sheep; To Sleep with Anger Agnes Varda: Cleo From Five to Seven, The Vagabond; The Beaches of Agnes; The Gleaners & I Douglas Sirk: Written on the Wind; All That Heaven Allows; The Tarnished Angels Todd Haynes: Safe; Superstar: The Karen Carpenter Story; Far From Heaven John Ford: Stagecoach: My Darling Clementine; The Searchers Vittorio de Sica: Bicycle Thieves; Shoeshine; Umberto D; Roberto Rossellini: Rome, Open City; Paisan; Journey to Italy Luis Buñuel: Un Chien Andalou (with Salvador Dali); Los Olvidados; Illusion Travels by Streetcar: That Obscure Object of Desire; Viridiana; Belle du Jour; The Exterminating Angel Kelly Reichardt: Old Joy; Wendy & Lucy; Meek’s Cut-off; Night Moves John Greyson: Zero Patience; Lillies Sally Potter: Orlando; Yes; Ginger and Rosa Theo Angelopoulos: The Suspended Step of the Stork; Landscape in the Midst Ousmane Sembene: Moolaadé; Faat Kiné; Guelwaar Orson Welles: Citizen Kane; The Magnificent Ambersons; Touch of Evil; The Lady from Shanghai; Chimes at Midnight Zhangke Jia: The World; Still Life; Platform Ken Loach: Riff-Raff; Kes; The Navigators, Raining Stones; My -
I Think You'll Like It: an Experimental Film
I Think You’ll Like It: An experimental film Self-Determined Major Final Project Proposal Major: Film Readers: Adam Tinkle, Rik Scarce 1 Intro/ Background Through my study of film-making, I have developed a personal affinity for abstract films and nontraditional uses of video as an artistic and abstract medium. Video is often seen as a way to portray an event in the most literal and ‘true-to-life’ way. In studying film studies and production though, I have learned first-hand that no video can be truly objective. Just as any medium is informed by the creator’s point of view and the story they wish to tell, all of the creative tools that a filmmaker can use to make a piece also impact the meaning based on their individual perspective and the influence of their ‘eye’ on the final product. In the abstract works that I have studied, this -wide fascination with telling truth is focused more on deeper and less traditionally observable truths. Films like Hiroshima, Mon Amour, At Land, and Fuses use video to tell truths of the mind, heart, and soul that might otherwise be inexpressible. The layered use of visual elements like color, texture, and imagery, combined with audio layering act as tools to express these truths artistically. The self expression and portrayal of different parts of human experience are immersive and beautiful because of their nontraditional nature in these experimental films. For my final project, I propose creating an experimental 10 minute short film: I Think You’ll Like It, which explores senses, color, and imagination. -
Crazy Ex-Girlfriend and Feminist Politics of Offence
KATRIN HORN “PERIOD SEX”: CRAZY EX-GIRLFRIEND AND FEMINIST POLITICS OF OFFENCE When cartoon versions of the supporting cast call the main character of The CW’s Crazy Ex-Girlfriend (2015–) exactly that – a crazy ex-girlfriend – in the opening credits of season one, the offended Rebecca Bunch (played by co-creator Rachel Bloom) vehemently protests: “the situation is a lot more nuanced than that!” TV critics mostly agree, calling the show “witty, well-acted, brazenly inventive, and a pleasure to watch” (Bastién 2017) or simply “The Best Show on TV [...] that demonstrates the near-total creative freedom of TV’s latest evolutionary period better than any other” (Zoller Seitz 2016). A Slate-review that proclaims it “one of the most critically acclaimed programs on broadcast television,” however, also notes that Crazy Ex-Girlfriend (CXG) is not “among the lowest [rated], but consistently in the absolute last spot, almost as if it’s trying to make a point” (Wilson 2018). Headlines like “4 reasons why ‘Crazy Ex- Girlfriend’ is the best show you’re not watching (Fitzpatrick 2015) are therefore a staple of the show’s critical reception. The explanation usually given – “Hate the title? Us too […]” (Pandell 2016) – is that show’s title, “a sexist term,” as the credit sequence acknowledges, is so offensive it repels most potential viewers. The embrace of offensiveness in the “Subversive Show with the Terrible Name” (Lenker 2016), however, does not stop there. It instead extents to narrative as well as aesthetic levels. As such, the title is not so much ‘terrible’ as it is telling: it proclaims the show’s reliance on offence, which is used – this article argues – as a tool of feminist critique of contemporary modes of representation of women, romance, and mental illness.