DOCSLIB.ORG

Introduction to Film Studies | University of Essex

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction to Film Studies | University of Essex 10/02/21 LT121: Introduction to Film Studies | University of Essex LT121: Introduction to Film Studies View Online [1] L. Braudy and M. Cohen, Film theory and criticism: introductory readings, 7th ed. New York: Oxford University Press, 2009. [2] J. Geiger and R. L. Rutsky, Film analysis: a Norton reader, Second edition. New York: W. W. Norton & Company, 2013. [3] D. Bordwell and K. Thompson, Film art: an introduction, 10th ed. New York: McGraw-Hill, 2012. [4] J. Monaco, How to read a film: movies, media, and beyond : art, technology, language, history, theory, 4th ed. Oxford: Oxford University Press, 2009. [5] Jill Nelmes, Introduction to film studies, 5th ed. Abingdon: Routledge, 2012 [Online]. Available: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth &target=https://app.kortext.com/borrow/3051 [6] 1/24 10/02/21 LT121: Introduction to Film Studies | University of Essex J. Nelmes and dawsonera, Introduction to film studies, 5th ed. London: Routledge, 2012 [Online]. Available: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp0.essex.ac.uk/s hibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/ S9780203824139 [7] P. Cook, The cinema book, 3rd ed. London: BFI, 2007 [Online]. Available: http://0-search.ebscohost.com.serlib0.essex.ac.uk/login.aspx?direct=true&scope=site &db=nlebk&db=nlabk&AN=2612799 [8] D. Robinson, From peep show to palace: the birth of American film. New York: Columbia University Press, 1996. [9] G. Mast and B. F. Kawin, A short history of the movies, 9th ed. New York: Pearson/Longman, 2006. [10] D. Thomson, The new biographical dictionary of film, 4th ed. London: Little, Brown, 2002. [11] E. Katz, F. Klein, and R. D. Nolen, The film encyclopedia, 3rd ed. / rev. by Fred Klein and Ronald Dean Nolan [i.e. Nolen]. New York: HarperPerennial, 1998. [12] T. Corrigan, A short guide to writing about film, 6th ed., vol. The short guide series. New York: Pearson/Longman, 2007. [13] 2/24 10/02/21 LT121: Introduction to Film Studies | University of Essex D. Shepard and T. A. Edison, ‘The great train robbery’, Landmarks of early film, vol. Blackhawk Films collection. Film Preservation Associates, [S.l.], 1903. [14] D. Shepard and T. A. Edison, ‘The girl and her trust’, Landmarks of early film, vol. Blackhawk Films collection. Film Preservation Associates, [S.l.], 1912. [15] B. Keaton, K. McGuire, J. Keaton, M. Leahy, and W. Beery, ‘Sherlock Jr: and, Three ages.’ Kino International, New York, 2010. [16] B. Keaton and J. Keaton, ‘Sherlock Jr.’, Buster Keaton. Stonevision Entertainment, Salford, 1924 [Online]. Available: https://www.youtube.com/watch?v=fZuqWxITq38 [17] W. K. Everson, American silent film, vol. A History of the American film. New York: Oxford University Press, 1978. [18] C. Musser, ‘The Travel Genre in 1903-1904: Moving Towards Fictional Narrative’, in Early cinema: space frame narrative, London: BFI, 1990, pp. 123–132 [Online]. Available: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=6342 215 [19] ‘Rescued by Rover’, Early cinema: primitives and pioneers. BFI Video, London, 1905. [20] D. W. Griffith, ‘Biograph shorts, 1909-1913: collection of early works by the cinema’s most influential pioneer : twenty-three complete films’, vol. Griffith masterworks. Kino on Video, 3/24 10/02/21 LT121: Introduction to Film Studies | University of Essex New York, NY, 2002. [21] ‘The Lumiere Brothers’, Early cinema: primitives and pioneers. BFI Video, London, 1895. [22] G. Méliès, ‘Voyage to the Moon’, Early cinema: primitives and pioneers. BFI Video, London, 1902 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F010895A8%3Fbcast%3D128257088 [23] M. Gorky, ‘A Review of the Lumière Programme’, in Kino: a history of the Russian and Soviet film, London: Allen & Unwin, 1960. [24] T. Gunning, ‘An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator’, in Film theory and criticism: introductory readings, 7th ed., New York: Oxford University Press, 2009. [25] K. Littau, ‘Arrival of a Train at La Ciotat’, in Film analysis: a Norton reader, Second edition., New York: W. W. Norton & Company, 2013, pp. 42–62. [26] ‘How it feels to be run over’, Early cinema: primitives and pioneers. BFI Video, United Kingdom, 1900. [27] 4/24 10/02/21 LT121: Introduction to Film Studies | University of Essex ‘Rough sea at Dover’, Early cinema: primitives and pioneers. BFI Video, United Kingdom, 1895. [28] ‘Voyage a travers l’impossible’, Early cinema: primitives and pioneers. BFI Video, France, 1904. [29] R. Wiene, W. B. Krauss, and C. Veidt, ‘Das cabinet des Dr. Caligari.’ Eureka Video, [S.l.], 2000 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F004D7890%3Fbcast%3D106840826 [30] S. Kracauer, ‘The Cabinet of Dr. Caligari’, in Film theory and criticism: introductory readings, 7th ed., New York: Oxford University Press, 2009. [31] P. Coates, ‘The Cabinet of Dr Caligari’, in Film analysis: a Norton reader, Second edition., New York: W. W. Norton & Company, 2013, pp. 98–117. [32] Boris Ingster, ‘Stranger on the third floor.’ Odeon Entertainment, [London], 1940 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F000797C5%3Fbcast%3D33178723 [33] F. W. Murnau et al., ‘Nosferatu.’ British Film Institute, London, 2001. 5/24 10/02/21 LT121: Introduction to Film Studies | University of Essex [34] F. W. Murnau and E. Jannings, ‘The last laugh: Der letzte Mann.’ Kino International, New York, NY, 2001. [35] Alfred Hitchcock, ‘Psycho.’ Columbia Tristar, U.K., 1960 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F0000E859%3Fbcast%3D122012920 [36] R. Wood, ‘Psycho’, in Hitchcock’s films revisited, Revised ed., New York: Columbia University Press, 2002. [37] Alfred Hitchcock and Sidney Gottlieb, ‘On style’, in Hitchcock on Hitchcock: selected writings and interviews, London: Faber and Faber, 1995, pp. 285–302 [Online]. Available: http://0-search.ebscohost.com.serlib0.essex.ac.uk/login.aspx?direct=true&db=nlebk& amp;AN=41623 [38] A. Hitchcock, ‘On style’, in Hitchcock on Hitchcock: selected writings and interviews, Berkeley: University of California Press, 1995, pp. 285–302 [Online]. Available: http://0-search.ebscohost.com.serlib0.essex.ac.uk/login.aspx?direct=true&db=nlebk&AN= 41623 [39] N. Redfern, ‘“Leading them down the garden path,” another look at Hitchcock’s Psycho’, EnterText, vol. 1, no. 3, pp. 48–63 [Online]. Available: https://www.brunel.ac.uk/creative-writing/research/entertext/documents/entertext013/Nick -Redfern-Leading-them-down-the-Garden-Path-Another-Look-at-Hitchcocks-Psycho.pdf [40] 6/24 10/02/21 LT121: Introduction to Film Studies | University of Essex W. Rothman, ‘Psycho’, in Hitchcock - the murderous gaze, vol. Harvard film studies, Cambridge, Mass: Harvard University Press, 1982, pp. 245–341 [Online]. Available: http://0-search.ebscohost.com.serlib0.essex.ac.uk/login.aspx?direct=true&scope=site &db=nlebk&db=nlabk&AN=549573 [41] S. Eisenstein, ‘The dramaturgy of film form’, in Film theory and criticism: introductory readings, 7th ed., New York: Oxford University Press, 2009, pp. 25–41. [42] Alfred Hitchcock, ‘Marnie’, vol. Alfred Hitchcock Collection. Universal Studios, Universal City, CA, 1964 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F0000E857%3Fbcast%3D122665240 [43] E. Hunter, A. Hitchcock, R. Taylor, J. Tandy, S. Pleshette, and T. Hedren, ‘The birds’, vol. The Alfred Hitchcock collection. Universal Studios Home Video, Universal City, CA, 2000 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F001BDDDD%3Fbcast%3D89213920 [44] A. Hitchcock, H. Fonda, V. Miles, and A. Quayle, ‘The wrong man.’ Distributed by Warner Home Video, Burbank, CA, 2004 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F00097F07%3Fbcast%3D97494856 [45] ‘Alfred Hitchcock Presents - YouTube.’ [Online]. Available: https://www.youtube.com/results?search_query=alfred+hitchcock+presents 7/24 10/02/21 LT121: Introduction to Film Studies | University of Essex [46] Billy Wilder, ‘Some like it hot.’ MGM/UA Home Video, London, 1959 [Online]. Available: https://login.learningonscreen.ac.uk/wayfless.php?entityID=https%3A%2F%2Fidp0.essex.a c.uk%2Fshibboleth&target=https%3A%2F%2Flearningonscreen.ac.uk%2Fondemand %2Findex.php%2Fprog%2F001AAE13%3Fbcast%3D60102496 [47] David Bordwell, ‘An excessively obvious cinema’, in The classical Hollywood cinema: film style & mode of production to 1960, London: Routledge, 1988, pp. 3–11 [Online]. Available: https://0-www-taylorfrancis-com.serlib0.essex.ac.uk/books/e/9780203358818/chapters/10. 4324/9780203358818-10 [48] D. Bordwell, ‘An excessively obvious cinema’, in The classical Hollywood cinema: film style & mode of production to 1960, London: Routledge, 1988 [Online]. Available: http://0-search.ebscohost.com.serlib0.essex.ac.uk/login.aspx?direct=true&db=nlebk&AN= 93873 [49] A. Kuhn, ‘Classical Hollywood Narrative’, in The cinema book, 3rd ed., London: BFI, 2007, pp. 45–48 [Online]. Available: http://0-search.ebscohost.com.serlib0.essex.ac.uk/login.aspx?direct=true&db=nlebk& amp;AN=2612799&site=ehost-live&ebv=EB&ppid=pp_45 [50] D.
Load more

Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • The Creative Process
    The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis­ cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • 1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
    1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company.
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]
  • Interviewing the Embodiment of Political Evil
    MASCULINITY AND THE MECHANICAL: AMBIGUOUS IDENTITIES IN BUSTER KEATON'S THE PLAYHOUSE Lili Pickett-Palmer HARTS & Minds: The Journal of Humanities and Arts Vol. 3, No. 2 (2017) www.harts-minds.co.uk/ Article © HARTS & Minds Cover Image: Buster Keaton’s Hard Luck (1921) Thumbnail: Buster Keaton’s The Playhouse (1921) MASCULINITY AND THE MECHANICAL: AMBIGUOUS IDENTITIES IN BUSTER KEATON'S THE PLAYHOUSE Lili Pickett-Palmer Abstract This article will seek to show how Buster Keaton’s 1921 short film The Playhouse links the fragile ontology of masculine identity with the technological uncanny, two pervading anxieties of the silent period. Expanding on scholarship which identifies the narrative structure and content in Keaton’s work as directly addressing a liminal gender identity (e.g. Kathleen Karlyn, Peter Krämer), I am working with the theories of the ludic body and object as ‘thing’, examining the multimodal play of props and body as creating a carnivalesque space of mutable identities (e.g. Lorenz Engell, Merleau-Ponty, Henri Bergson). I will also draw on historical studies: Michael Kimmel argues that the construction of modern masculinity was made through the navigation of acute and shifting anxieties; masculine identity was not only changeable in itself, but also vulnerable to notions of change. Judy Hilkey, in a study of conduct manuals which were immensely popular in America during the period, points out a didactic emphasis on the link between masculinity and success – particularly in the sphere of work. The loss of a job to a machine, therefore, was tied closely to a notion of emasculation. These studies show that general anxieties concerning the machine would have questioned masculine stability, forming a basis for the construction of masculine ontology in the period.
    [Show full text]
  • Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
    Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period.
    [Show full text]
  • The Flick Written by Annie Baker X Directed by Bridget Kathleen O’Leary P L O R Dramaturgical Packet Compiled by E Amelia Dornbush 2
    !1 e The Flick Written by Annie Baker x Directed by Bridget Kathleen O’Leary p l o r Dramaturgical Packet Compiled by e Amelia Dornbush !2 Table of Contents Dramaturg’s Note…………………………….……….……….………………………….……..3 About the Playwright………………..…….……………………………………………………..4 Biography……………………..….………………………………………………………..4 Baker’s reflections on The Flick…………….…………………………………………….4 Interview with the Creators………………………………………….…………..….….……5-10 Interview with the director……………………………………………..………….……5-7 Interview with the actor playing Avery……….…………………………………….…8-10 The Place: Worcester County…………………….………….………….……………….……..11 Minimum Wage in Summer of 2012……………….…….…………………………………….12 Mental Health and Sexuality…………………………………….………….….………….…..13 Depression………………………………………………………………………………..13 Autoeroticism…………………….……………………….…………….……….……….13 Six Degrees of Kevin Bacon………………………….…..…………………………………….14 35mm v. Digital………………………………………………………………….…….…….15-17 Glossary……………………………………………………………….…………….……….18-28 !3 Dramaturg’s Note The Flick is a beautifully constructed play that carefully contrasts the rousing emotions and nostalgia evoked by cinema with the world of our day to day lives. One of the ways in which Baker creates this contrast is through the repetition of sounds from François Truffaut’s 1962 French film Jules and Jim in The Flick. This repetition causes us to ask ourselves as audience members – why is this particular movie referred to so many times over the course of the play? One clue to this can be found by examining the similarities and differences between the two works. Both stories depict characters searching for happiness. Both follow two men and a woman as their lives intertwine. Both depict versions of love and betrayal. Still, there are differences. Truffaut’s lead characters, all white, magically seem to have enough money to support their lives in country cabins and Parisian apartments as writers. They both have a passionate sexual relationship with the same woman, and both relationships fail spectacularly in different ways.
    [Show full text]
  • The Films of Kenji Mizoguchi: Authorship and Vernacular Style
    The Films of Kenji Mizoguchi: Authorship and Vernacular Style Paul Spicer This thesis is submitted in partial fulfilment of the requirements of the award of the degree of Doctor of Philosophy of the University of Portsmouth October 2011 Contents Declaration i List of Figures ii Notes on Translation v Acknowledgements vii Dedication ix Introduction 1 Chapter One – Ideas of Language 34 Chapter Two – Ideas of Authorship 76 Chapter Three – Mizoguchi and Mise en Scène 119 Chapter Four – Ideas of Spectatorship 162 Chapter Five – Mizoguchi and Melodrama 195 Chapter Six – Mizoguchi and Theatre 247 Conclusion 288 Bibliography 308 Select Filmography 319 Mizoguchi Filmography 321 Appendix One: Interview with Oshima Kinue 328 Appendix Two: Interview with Sawato Midori 336 Appendix Three: Interview with Saso Tsutomu 349 Appendix Four: Omoukotonado: Edo Jocho no Eigaka Sonohoka: (My Thoughts: Creating Edo Culture in Film) by Director Kenji Mizoguchi. Nikkatsu Magazine June 1926 374 Appendix Five: Kanji Readings of Key Figures 378 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. i List of Figures Chapter One Figure 1, p.56. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion. Figure 2, p.57. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion Figure 3, p.58. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD].
    [Show full text]
  • Tricks of the Light
    Tricks of the Light: A Study of the Cinematographic Style of the Émigré Cinematographer Eugen Schüfftan Submitted by Tomas Rhys Williams to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Film In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961).
    [Show full text]
  • A Socio-Economic Study of the Camorra Through Journalism
    A SOCIO-ECONOMIC STUDY OF THE CAMORRA THROUGH JOURNALISM, RELIGION AND FILM by ROBERT SHELTON BELLEW (under the direction of Thomas E. Peterson) ABSTRACT This dissertation is a socio-economic study of the Camorra as portrayed through Roberto Saviano‘s book Gomorra: Viaggio nell'impero economico e nel sogno di dominio della Camorra and Matteo Garrone‘s film, Gomorra. It is difficult to classify Saviano‘s book. Some scholars have labeled Gomorra a ―docufiction‖, suggesting that Saviano took poetic freedoms with his first-person triune accounts. He employs a prose and news reporting style to narrate the story of the Camorra exposing its territory and business connections. The crime organization is studied through Italian journalism, globalized economics, eschatology and neorealistic film. In addition to igniting a cultural debate, Saviano‘s book has fomented a scholarly consideration on the innovativeness of his narrative style. Wu Ming 1 and Alessandro Dal Lago epitomize the two opposing literary camps. Saviano was not yet a licensed reporter when he wrote the book. Unlike the tradition of news reporting in the United States, Italy does not have an established school for professional journalism instruction. In fact, the majority of Italy‘s leading journalists are writers or politicians by trade who have gravitated into the realm of news reporting. There is a heavy literary influence in Italian journalism that would be viewed as too biased for Anglo- American journalists. Yet, this style of writing has produced excellent material for a rich literary production that can be called engagé or political literature. A study of Gomorra will provide information about the impact of the book on current Italian journalism.
    [Show full text]
  • Film Studies Guidance for Teaching
    GCE A LEVEL WJEC Eduqas GCE A LEVEL in FILM STUDIES ACCREDITED BY OFQUAL GUIDANCE FOR TEACHING Teaching from 2017 This Ofqual regulated qualification is not available for candidates in maintained schools and colleges in Wales. Contents Introduction 2 Aims of Guidance for Teaching 3 Overview of Specification Components 4 Explanation of Assessment Objectives 4 Subject Content at a glance 6 Course Models 7 Teaching the Core Study Areas 16 Teaching the Specialist Study Areas 19 Component 1: Section A (Hollywood Comparative Study) 19 Additional Guidance: Ideology (American Film/British Film) 21 Additional Guidance: Spectatorship (American Film) 23 Additional Guidance: Narrative (British Film) 31 Component 2: Section A (Global Film) 37 Component 2: Sections B, C & D 46 Component 3: NEA Production Guide 47 Appendix A: Where to access the short films 53 Resources 55 1 Introduction The WJEC Eduqas A level in Film Studies qualification, accredited by Ofqual for first teaching from September 2017, is available to: • all schools and colleges in England and Wales • schools and colleges in independent regions such as Northern Ireland, Isle of Man and the Channel Islands It will be awarded for the first time in Summer 2019, using grades A*–E. This A Level Film Studies specification offers a broad and coherent course of study which allows learners the opportunity to broaden their knowledge and understanding of film. The content will be assessed across two examination components and one production component. All learners will study 11 film texts in relation to the core study areas with some film topics requiring the study of additional specialist topic areas including narrative, ideology and spectatorship.
    [Show full text]