Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory
DANGEROUSLY FREE: OUTLAWS AND NATION-MAKING IN LITERATURE OF THE INDIAN TERRITORY by Jenna Hunnef A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Jenna Hunnef 2016 Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory Jenna Hunnef Doctor of Philosophy Department of English University of Toronto 2016 Abstract In this dissertation, I examine how literary representations of outlaws and outlawry have contributed to the shaping of national identity in the United States. I analyze a series of texts set in the former Indian Territory (now part of the state of Oklahoma) for traces of what I call “outlaw rhetorics,” that is, the political expression in literature of marginalized realities and competing visions of nationhood. Outlaw rhetorics elicit new ways to think the nation differently—to imagine the nation otherwise; as such, I demonstrate that outlaw narratives are as capable of challenging the nation’s claims to territorial or imaginative title as they are of asserting them. Borrowing from Abenaki scholar Lisa Brooks’s definition of “nation” as “the multifaceted, lived experience of families who gather in particular places,” this dissertation draws an analogous relationship between outlaws and domestic spaces wherein they are both considered simultaneously exempt from and constitutive of civic life. In the same way that the outlaw’s alternately celebrated and marginal status endows him or her with the power to support and eschew the stories a nation tells about itself, so the liminality and centrality of domestic life have proven effective as a means of consolidating and dissenting from the status quo of the nation-state. -
Cinema of the Dark Side Atrocity and the Ethics of Film Spectatorship
Cinema of the Dark Side Atrocity and the Ethics of Film Spectatorship Shohini Chaudhuri CHAUDHURI 9780748642632 PRINT.indd 1 26/09/2014 16:33 © Shohini Chaudhuri, 2014 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 4263 2 (hardback) ISBN 978 1 4744 0042 8 (paperback) ISBN 978 0 7486 9461 7 (webready PDF) ISBN 978 1 4744 0043 5 (epub) The right of Shohini Chaudhuri to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). CHAUDHURI 9780748642632 PRINT.indd 2 26/09/2014 16:33 Contents Acknowledgements iv List of Figures viii Introduction 1 1 Documenting the Dark Side: Fictional and Documentary Treatments of Torture and the ‘War On Terror’ 22 2 History Lessons: What Audiences (Could) Learn about Genocide from Historical Dramas 50 3 The Art of Disappearance: Remembering Political Violence in Argentina and Chile 84 4 Uninvited Visitors: Immigration, Detention and Deportation in Science Fiction 115 5 Architectures of Enmity: the Israeli–Palestinian Conflict through a Cinematic Lens 146 Conclusion 178 Bibliography 184 Index 197 CHAUDHURI 9780748642632 PRINT.indd 3 26/09/2014 16:33 Introduction n the science fiction film Children of Men (2006), set in a future dystopian IBritain, a propaganda film plays on a TV screen on a train. -
Perceptual Realism and Embodied Experience in the Travelogue Genre
Athens Journal of Mass Media and Communications- Volume 3, Issue 3 – Pages 229-258 Perceptual Realism and Embodied Experience in the Travelogue Genre By Perla Carrillo Quiroga This paper draws two lines of analysis. On the one hand it discusses the history of the This paper draws two lines of analysis. On the one hand it discusses the history of the travelogue genre while drawing a parallel with a Bazanian teleology of cinematic realism. On the other, it incorporates phenomenological approaches with neuroscience’s discovery of mirror neurons and an embodied simulation mechanism in order to reflect upon the techniques and cinematic styles of the travelogue genre. In this article I discuss the travelogue film genre through a phenomenological approach to film studies. First I trace the history of the travelogue film by distinguishing three main categories, each one ascribed to a particular form of realism. The hyper-realistic travelogue, which is related to a perceptual form of realism; the first person travelogue, associated with realism as authenticity; and the travelogue as a traditional documentary which is related to a factual form of realism. I then discuss how these categories relate to Andre Bazin’s ideas on realism through notions such as montage, duration, the long take and his "myth of total cinema". I discuss the concept of perceptual realism as a key style in the travelogue genre evident in the use of extra-filmic technologies which have attempted to bring the spectator’s body closer into an immersion into filmic space by simulating the physical and sensorial experience of travelling. -
Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
Revisiting Zero Hour 1945
REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs. -
Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
1 COM 321, Documentary Form in Film & Television 1/15/14 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man, 1962 US Eyes, 1971 Mothlight, 1963 Bunuel, Luis Las Hurdes (Land Without Bread), Un Chien Andalou, 1928 (with Salvador Spain/France 1933 (mockumentary?) Dali) L’Age D’Or, 1930 The Discreet Charm of the Bourgeoisie, 1972 Cameron, James Expedition Bismarck, 2002 Titanic, 1997 US Ghosts of the Abyss, 2003 Avatar, 2009 Capra, Frank Why We Fight series, 1942‐44 Mr. Deeds Goes to Town, 1936 US Mr. Smith Goes to Washington, 1939 It’s a Wonderful Life, 1946 Chukrai, Grigori Pamyat, 1971 Ballad of a Soldier, 1959 Soviet Union Cooper, Merian C. Grass: A Nation’s Battle for Life, 1925 The Four Feathers, 1929 US (with Ernest B. Schoedsack) King Kong, 1933 Chang: A Drama of the Wilderness, 1927 (with Ernest B. Schoedsack) Demme, Jonathan Stop Making Sense, -
Caio Fernando Abreu E O Cinema: O Processo De Adaptação De Morangos Mofados
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO GRANDE DO SUL FACULDADE DOS MEIOS DE COMUNICAÇÃO SOCIAL PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO SOCIAL FABIANO GRENDENE DE SOUZA CAIO FERNANDO ABREU E O CINEMA: O PROCESSO DE ADAPTAÇÃO DE MORANGOS MOFADOS Porto Alegre 2010 FABIANO GRENDENE DE SOUZA CAIO FERNANDO ABREU E O CINEMA: O PROCESSO DE ADAPTAÇÃO DE MORANGOS MOFADOS Tese apresentada como requisito parcial para obtenção do grau de Doutor em Comunicação, pelo Programa de Pós- graduação da Faculdade de Comunicação Social, Pontifícia Universidade Católica do Rio Grande do Sul. Orientador: Prof. Dr. Carlos Gerbase Porto Alegre 2010 FABIANO GRENDENE DE SOUZA CAIO FERNANDO ABREU E O CINEMA: O PROCESSO DE ADAPTAÇÃO DE MORANGOS MOFADOS Tese apresentada como requisito parcial para obtenção do grau de Doutor em Comunicação, pelo Programa de Pós- graduação da Faculdade de Comunicação Social, Pontifícia Universidade Católica do Rio Grande do Sul. Aprovada em_____de__________________de_____. BANCA EXAMINADORA Orientador: Prof. Dr. Carlos Gerbase – PUCRS ______________________________________________ Prof. Dr. Michel Marie – Paris 3 – Sorbonne Nouvelle ______________________________________________ Prof. Dr. Renato Luiz Pucci Jr. – UTP _____________________________________________ Prof. Dr. Luís Augusto Fischer – UFRGS _____________________________________________ Prof. Dr Cristiane Freitas Gutfreind – PUCRS ______________________________________________ À Maria Clara, que terá 25 anos em 2022. À Gabi, minha pessoa-eu desde os meus 25. Aos meus pais, sempre pais-heróis, independente da minha idade. AGRADECIMENTOS Ao Gerbase, por acreditar no trabalho e em mim, mas também por Inverno, Deus-ex machina e Os replicantes. Ao Michel Marie, pela acolhida parisiense e por me mostrar o travelling de Tout va bien. À Cristiane Freitas, que só faltou comprar minha passagem para Paris. -
Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
1 COM 321, Documentary Form in Film, Television, & Interactive Media 1/27/17 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anderson, Paul Junun, 2015 Boogie Nights, 1997 Thomas There Will be Blood, 2007 The Master, 2012 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Antonioni, Ragazze in bianco, 1949 L’Avventura, 1960 Michelangelo Chung Kuo – Cina, 1972 La Notte, 1961 Italy L'Eclisse, 1962 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Berlinger, Joe Brother’s Keeper, 1992 Book of Shadows: Blair Witch 2, 2000 US The Paradise Lost Trilogy, 1996-2011 Facing the Wind, 2015 (all with Bruce Sinofsky) Berman, Shari The Young and the Dead, 2000 The Nanny Diaries, 2007 Springer & Pulcini, Hello, He Lied & Other Truths from Cinema Verite, 2011 Robert the Hollywood Trenches, 2002 Girl Most Likely, 2012 US American Splendor, 2003 (hybrid) Wanderlust, 2006 Blitz, Jeffrey Spellbound, 2002 Rocket Science, 2007 US Lucky, 2010 The Office, 2006-2013 (TV) Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man, -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
F. Scott Fitzgerald the Stand
Fiction Songs The Great Gatsby – F. Scott Fitzgerald “Change is Gonna Come” – Sam Cooke The Stand - Stephen King “Oh Holy Night” – Adolph Adam Things Fall Apart – Chinua Achebe “Come as You Are” – Nirvana Brave New World – Aldous Huxley “Paper Tiger” – Beck The Alchemist – Paulo Coelho “Sweet Child O’ Mine” – Guns N Roses Nineteen Eighty Four – George Orwell “Amazing Grace” – John Newton Of Mice and Men – John Steinbeck “Father and Son” – Cat Stevens The Road – Cormac McCarthy “Go or Go Ahead” – Rufus Wainright The Lovely Bones – Alice Sebold “And Justice For All” – Metallica The Fountainhead – Ayn Rand “In My Life” – The Beetles Non-fiction Movies A Brief History of Time – Stephen Hawking The Godfather – Francis Ford Coppola My Life in Art – Konstantin Stanislavsky Magnolia – Paul Thomas Anderson The Singularity is Near – Ray Kurzweil It’s a Wonderful Life – Frank Capra The Tipping Point – Malcolm Gladwell Being John Malkovich – Spike Jonze Bossypants – Tina Fey Life is Beautiful – Roberto Benigni Revelation – John (The One Who Jesus Loved) Gone With the Wind – Victor Fleming The Supernatural Worldview – Cris Putnam Lost in Translation – Sophia Coppola Relativity – Albert Einstein Eternal Sunshine of the Spotless Mind – In Cold Blood – Truman Capote Michel Gondry Exodus – Moses The Sting – George Roy Hill The Little Princess – Walter Lang Children’s Books Documentaries The Giving Tree – Shel Silverstein Grey Gardens – Ellen Hoyde, Albert Maysles The Chronicles of Narnia series– C.S. Lewis The Imposter – Bart Layton Every Amelia Bedelia – Peggy/Herman Parish Hoop Dreams – Steve James Charlotte’s Web – E.B. White Fahrenheit 911 – Michael Moore The Cat in the Hat – Dr. -
MARCELO EDUARDO MARCHI META-TERROR: O Uso Da Metalinguagem Como Recurso Narrativo No Slasher Movie
UNIVERSIDADE FEDERAL DE SÃO CARLOS CENTRO DE EDUCAÇÃO E CIÊNCIAS HUMANAS DEPARTAMENTO DE ARTES E COMUNICAÇÃO MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie SÃO CARLOS - SP 2020 MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie Dissertação apresentada ao Programa de Pós-Graduação em Imagem e Som, da Universidade Federal de São Carlos, para obtenção do título de Mestre em Imagem e Som. Orientador: Prof. Dr. Alessandro Constantino Gamo São Carlos-SP 2020 Dedicado aos arquitetos desse fascinante universo que é o gênero terror. Que sua inesgotável imaginação e ousadia estejam sempre grudadas em mim, como o sangue de porco na doce Carrie. AGRADECIMENTOS Nem mesmo as cento e tantas páginas desta dissertação seriam suficientes para expressar minha gratidão às mulheres que, todos os dias, fazem de mim o que eu sou. Elas permanecem zelando para que eu alcance os meus sonhos, e, mais importante ainda, para que eu nunca deixe de sonhar. Minha mãe, Dirce, minhas irmãs, Márcia e Marta, e minha sobrinha, Júlia, amo vocês com todas as minhas forças! Ao meu falecido pai, Benedito: sei que sua energia ainda está conosco. Agradeço também aos meus colegas de mestrado. Tão precioso quanto o conhecimento adquirido nessa jornada é o fato de tê-la compartilhado com vocês. Desejo-lhes um futuro sempre mais e mais brilhante. Aos amigos de tantos anos, obrigado por me incentivarem a abraçar mais essa etapa e por estarem presentes também nos momentos de esfriar a cabeça e jogar conversa fora: Jefferson Galetti e Vanessa Bretas, Dú Marques, Vitão Godoy, Led Bacciotti e Giovana Bueno, Nico Stolzel e Paulinha Gomes, Miller Guglielmo, e a galera da república Alcatraz em São Carlos.