DOCSLIB.ORG

Hiper-Real(Ismo) Milenar: O Cinema Ciborgue À Beira Do Ano 2000

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hiper-Real(Ismo) Milenar: O Cinema Ciborgue À Beira Do Ano 2000 Francisco Ricardo Cipriano Silveira Hiper-Real(ismo) Milenar: o cinema ciborgue à beira do ano 2000 Dissertação de Mestrado em Estudos Artísticos, orientada pelo Doutor Manuel Portela, apresentada ao Departamento de História, Estudos Europeus, Arqueologia e Artes da Faculdade de Letras da Universidade de Coimbra 2017 * A presente dissertação segue as normas do acordo ortográfico de 1973. Imagem de capa: fotograma do filme The Thirteenth Floor (Josef Rusnak; 1999). * A presente dissertação segue as normas do acordo ortográfico de 1973. Faculdade de Letras Hiper-Real(ismo) Milenar: o cinema ciborgue à beira do ano 2000 Ficha Técnica: Tipo de trabalho Dissertação de Mestrado Título Hiper-Real(ismo) Milenar: o cinema ciborgue à beira do ano 2000 Autor Francisco Ricardo Cipriano Silveira Orientador Manuel José de Freitas Portela Júri Presidente: Doutor Sérgio Emanuel Dias Branco Vogais: 1. Doutora Elsa Margarida da Silva Rodrigues (Arguente) 2. Doutor Manuel José de Freitas Portela (Orientador) Identificação do Curso 2º Ciclo em Estudos Artísticos Área científica Artes Data da defesa 12-10-2017 Classificação 19 valores Agradecimentos À Teresa, triplamente (como se isso chegasse...): - Por se confundir com o sentido de todas as coisas; - Porque é impossível não desejar o mundo a quem a ele nos eleva; - Por ser a espinha dorsal que eu já não tenho de há seis sete idosos meses para cá. Aos meus pais por sempre me darem a liberdade de ser quem sou e o que quis ser. Sem eles, incondicionais, os meus cinco anos académicos seriam mais um ponto por riscar em mil listas de mil coisas por fazer. Sem eles, estabilidade e responsabilidade, seria no máximo manicómio ambulante de uma formiga adulta esmagada pelo meu querido panda crónico infantil afogado no seu leite com bolachas. À minha mãe, em particular, pelas imensas chamadas telefónicas em que soube amortecer o melodrama adolescente que sempre vivi por dentro até já não ter idade para o viver por fora... ou noutro hipotético lado qualquer. Ao meu irmão por ser a minha maior influência até aos dezasseis, pois a ele devo as primeiras incursões artísticas, os primeiros derretimentos cinematográficos. Daí a uma jorrada de conexões transcendentais foi um momento e, sempre que mais precisei, aguentei-me nos braços de letras, sons e imagens relacionáveis. Ao João Fazendeiro pela minha única amizade humana digna do termo durante o auge passional do secundário e até à (in)finitude. Quando a nossa angústia fundamental se juntava em conversas e planeava planos de não “falharmos a vida”, eu podia subitamente respirar incrível: expirava apertura, inspirava abertura. Como no nosso Manifesto, para mim ainda “somos duas luzes à procura de claridade no silêncio frio e nocturno do parque”. Ao Professor Manuel Portela por aceitar o convite para me orientar e pela orientação em si. Tal como “temia” pelas suas excelentes aulas durante a licenciatura em Estudos Artísticos (Introdução aos Novos Média; Arte e Multimédia), os seus métodos favoreceram e muito o valor desta dissertação: desde a bibliografia, cuja leitura me afastou de regurgitar trabalhos feitos e me aproximou de os usar como alicerces dos meus argumentos; à calendarização, porque a entrega por partes fez frente à minha indisciplina mental e aos meus acessos perfeccionistas; aos conselhos, como o de repensar conceitos através dos objectos artísticos e não os subjugar a meras ilustrações teóricas; às correcções, que atravessaram os erros linguísticos, a formatação, pontas soltas argumentativas, ideias obscuras por aclarar e sugestões de desenvolvimento de outras. Ao Professor Sérgio Dias Branco, porque o trabalho de seminário, embrião desta dissertação, que desenvolvi na unidade curricular de Teoria do Cinema nasceu dos conteúdos aí 4 abordados. E também por, ausente de preconceitos elitistas, me ajudar a expandir a noção de cinema ao longo do meu percurso universitário. Aliás, aos vários óptimos professores com que me cruzei e a todos os que permitiram a criação e a continuidade de um curso como o de Estudos Artísticos. Meros dois anos depois do fim, os meus tempos de licenciatura já ganharam contornos mitológicos: os filmes, as canções ou os poemas, quais melhores amigos que nunca tive a crescerem comigo por tudo o que aprendi naquelas salas de aula... A capacidade de falar deles e com eles, perder-me sobejamente nas razões posteriores de existir de outros seres humanos, sentir-me a tornar-me mais uma dessas razões... E depois a indissociabilidade do lado de fora da faculdade, tudo à volta dos meus derradeiros empolgantes Setembros adolescentes, cada um dos últimos relógios de areia que separou o querer infinito (aventura...) do ser finito (sepultura.). 23?! 24?! Obrigado querido universo indiferente, pelo adeus à sensação de crescer sem envelhecer... 2017?! Bolas se não estou já a viver a ficção científica da minha infância... Não fosse utopia, distopia adulta, construía uma máquina ao tempo só para que ele pudesse voltar para mim... 5 Resumo Título: Hiper-Real(ismo) Milenar: o cinema ciborgue à beira do ano 2000 Entre 1998 e 1999, cinco filmes de ficção científica oriundos da América do Norte - Dark City, The Truman Show, eXistenZ, The Matrix e The Thirteenth Floor - denotaram uma unidade estético-temática que reclama uma conceptualização e uma análise à luz retrospectiva dos olhos de hoje. Através da formulação “hiper-real(ismo) milenar” para efectivar essa constelação artística, numa oscilação entre teoria e análise, procura-se aqui explorar os imensos pontos de contacto que convertem as cinco obras num quinteto. “Hiper-real(ismo)”, desde logo porque, tal como na corrente artística homónima pinturas e esculturas de alta resolução (muitas vezes através de computadores e subjacente digitalidade) parecem ter referente real (conforme uma fotografia analógica), estes filmes jogam com simulações da realidade dentro da narrativa. “Milenar”, porquanto a passagem de 1999 para 2000 situa as fitas numa época de paranóia, profecias apocalípticas (da informática à religião e à ecologia) associadas à mudança de milénio. No hiper-real(ismo) milenar, arauto de um “cinema ciborgue”, a nostalgia do rolo de celulóide e a emergência do digital coexistem numa imagem compósita, quer na produção, quer explícita ou implicitamente na narrativa. Por conseguinte, as cinco obras em consideração alicerçam-se em dimensões nunca menos que duplas, regressam a passados cinematográficos nervosos como o expressionismo alemão dos anos 20 de Weimar e o film noir americano dos anos 40/50 persecutórios do comunismo. Fazem-no num limbo futurofóbico, entre o escapismo que condena tudo a uma profecia auto-realizável e a resistência que penetra no medo pelo qual recusa ser determinada. É essa (in)consciência histórica, passando pelas noções de hiper-realidade de Jean Baudrillard e Umberto Eco e pelo surgimento do processador de texto, que importa também desenvolver. Sob vários ângulos e temas, um conjunto de falsas disjunções (... ou antonímias sinonímicas?) serve de instrumento para orbitar à volta dos cinco filmes. Palavras-chave: Dark City; The Truman Show; eXistenZ; The Matrix; The Thirteenth Floor; Hiper-Realismo; Simulacro; Cinema Ciborgue; Imagem Digital. 6 Abstract Title: Millennial Hyper-Real(ism): cyborg cinema on the brink of the year 2000 Between 1998 and 1999, five science fiction films from North America - Dark City, The Truman Show, eXistenZ, The Matrix and The Thirteenth Floor - denoted an aesthetic-thematic unity that calls for a conceptualization and analysis in the retrospective light of today’s eyes. Through the “millennial hyper-real(ism)” formulation created to produce this artistic constellation, oscillating between theory and analysis, this dissertation explores the numerous points of contact that convert those five works into a quintet. “Hyper-real(ism)”, because, as in the art movement of the same name in which high-resolution paintings and sculptures (often through computers and underlying digitality) seem to have a real referent (as in analog photography), these movies play with simulations of reality within the narrative. “Millennial”, since the passage from 1999 to 2000 places those feature films in a time of paranoia, apocalyptic prophecies (from informatics to religion and ecology) associated with the millennium shift. In millennial hyper-real(ism), herald of a “cyborg cinema”, the nostalgia of the celluloid roll and the emergence of the digital coexist in a composite image, both in production and explicitly or implicitly in the narrative. Therefore, the five motion pictures under consideration are based on never less than double dimensions, returning to nervous cinematographic pasts such as the German expressionism of Weimar’s ’20s and the American film noir of the ’40s/’50s communism persecution. They do it in a futurephobic limbo, swinging between an escapism that condemns everything to a self-fulfilling prophecy and a resistance that penetrates the fear by which it refuses to be determined. This historical (un)consciousness, as well as the notions of hyper-reality by Jean Baudrillard and Umberto Eco, and the arrival of the word processor, are also of utter importance. Under various angles and themes, a set of false disjunctions (... or synonymous antonymies?) serves as a tool to orbit around the five films. Keywords: Dark City; The Truman Show; eXistenZ; The Matrix; The Thirteenth Floor; Hyper-Realism; Simulacrum; Cyborg Cinema; Digital Image. 7 Índice 1. Introdução ou 31 de Dezembro? ..........................................................................................
Load more

Recommended publications
  • Berichte Und Papiere 87 / 2008: Filmmusik
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Medienwissenschaft / Hamburg: Berichte und Papiere 87 / 2008: Filmmusik ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 9. Februar 2008. Bibliographie der Filmmusik Komp. v. Hans J. Wulff In die folgende Bibliographie sind Hinweise von Claudia Bullerjahn, Michael Hergt, Ludger Kaczmarek, Ingo Lehmann und Mirkko Stehn eingegangen. Die namentlich gekennzeichneten Annotationen sind uns freundlicherweise vom Projekt „Bibliographie für die Musikwissenschaft“, hrsg. v. Staatlichen Institut für Musikforschung Preußischer Kulturbesitz, Berlin, überlassen worden (online: http://www.sim.spk- berlin.de/start.php). Wir danken Herrn Carsten Schmidt für seine Kooperationsbereitschaft. Bibliographie: Schramm, H. & Weinacht, S. (in press). Musik und Medien – eine Bibliografie [Music and media - a selective bibliography]. In: S. Weinacht & H. Scherer (Eds.), Wissenschaftliche Perspektiven auf Musik und Medien (Reihe Musik und Medien). Wiesbaden: VS Verlag für Sozialwissenschaften. Themenhefte von Zeitschriften: 1895. Revue de l’association française de recherche sur l’histoire du cinéma, 38, Oct. 2002: Musique. Èd. par François Albera et Giusy Pisano. AugenBlick, 35, 2004: „Film und Musik“. Hrsg. v. Thomas Koebner. Chigiana 42,22, 1990: Issue on film music. Cineaste 21,1-2, 1995, pp. 46-80: Sound and Music in the Movies. Cinema (Basel: Stroemfeld, Roter Stern) 37, 1991: Themenheft „Tonkörper. Die Umwertung des Tons im Film“. Cinema (Marburg: Schüren) 49, 2004: Themenheft „Musik“. Civiltà musicale (Vicchio, Firenze: LoGisma Ed.) 19,1, 2004: „La musica nel cinema. Tematiche e metodi di ricerca“, a cura di Sergio Miceli. Ecran 75, 39, [1975], 80 pp.: Themenheft „Cinéma et musique, 1960-1975".
    [Show full text]
  • Georges Méliès's Trip to the Moon
    Introduction MATTHEW SOLOMON GEORGES MÉLIÈS... is the originator of the class of cinemato- graph films which . has given new life to the trade at a time when it was dying out. He conceived the idea of portraying comical, magi- cal and mystical views, and his creations have been imitated without success ever since.... The “Trip to the Moon,” as well as... “The Astronomer’s Dream”. are the personal creations of Mr. Georges Méliès, who himself conceived the ideas, painted the backgrounds, devised the accessories and acted on the stage. —Complete Catalogue of Genuine and Original “Star” Films, 1905 If it is as a master of trick-films and fantastic spectacles that Méliès is best remembered, by no means all his pictures were of that type. —Iris Barry, Curator, Museum of Modern Art Film Library, 1939 A Trip to the Moon (1902) is certainly Georges Méliès’s best-known film, and of the tens of thousands of individual films made during cinema’s first decade, it is perhaps the most recognizable. The image of a cratered moon-face with a spaceship lodged in its eye is one of the most iconic images in all of film history and, more than a century after its initial release, the film’s story of a journey to the moon and back continues to amuse many around the world. Long recognized as a pioneering story film with an important impact on American cinema, A Trip to the Moon has also been claimed as a foundational entry in the history of several 1 © 2011 State University of New York Press, Albany 2 Matthew Solomon long-standing film genres, including science fiction, fantasy, and even the road movie.1 The film has been quoted and imitated in audiovisual works ranging from Around the World in Eighty Days (1956), to the music video for the Smashing Pumpkins’ song “Tonight, Tonight” (1996), and alluded to in literature as different as Louis-Ferdinand Céline’s nihilistic interwar novel Death on the Installment Plan (1936) and Brian Selznick’s illustrated children’s book The Invention of Hugo Cabret (2007).
    [Show full text]
  • Bibliographie Filmmusik Komp. V. Hans J. Wulff
    www.filmmusik.uni-kiel.de Kieler Beiträge zur Filmmusikforschung / Bibliographien Copyright für diese Ausgabe by Hans J. Wulff. Letzte Änderung: 4.3.2010. ISSN 1866-4768. Bibliographie Filmmusik Komp. v. Hans J. Wulff In die folgende Bibliographie sind Hinweise von Claudia Bullerjahn, Michael Hergt, Christoph Henzel, Ludger Kaczmarek, Ingo Lehmann, Birgit Leitner, Franz Obermeier, Ansgar Schlichter und Mirkko Stehn eingegangen. Die namentlich gekennzeichneten Annotationen sind uns freundlicherweise vom Projekt „Bibliographie für die Musikwissenschaft“, hrsg. v. Staatlichen Institut für Musikforschung Preußischer Kulturbesitz, Berlin, überlassen worden (online: http://www.sim.spk-berlin.de/start.php). Wir danken Herrn Carsten Schmidt für seine Kooperationsbereitschaft. Soweit die Annotate nicht anders gekennzeichnet sind, sind es Abstracts von Artikeln, Klappentexte von Büchern oder deskriptive Beschreibungen der Autoren oder der Verlage. Bibliographie: Lamberts-Piel, Christa: Der Ton zum Bild. Filmmusik im Unterricht. Eine kommentierte Literaturliste zum Hineinfinden und Hindurchfinden. In: Musik und Unterricht, 81, 2005, S. 50-53. Schramm, Helmut / Weinacht, Stefan (Hrsg.): Musik und Medien – eine Bibliografie [Music and media - a selective bibliography]. In: S. Weinacht & H. Scherer (Eds.), Wissenschaftliche Perspektiven auf Musik und Medien (Reihe Musik und Medien). Wiesbaden: VS Verlag für Sozialwissenschaften 2008, S. 207-226. Themenhefte: 1895. Revue de l’association française de recherche sur l’histoire du cinéma, 38, Oct. 2002: Musique. Èd. par François Albera et Giusy Pisano. AugenBlick, 35, 2004: „Film und Musik“. Hrsg. v. Thomas Koebner. Chigiana 42,22, 1990: Issue on film music. Cineaste 21,1-2, 1995, pp. 46-80: Sound and Music in the Movies. Cinema (Basel: Stroemfeld, Roter Stern) 37, 1991: Themenheft „Tonkörper. Die Umwertung des Tons im Film“.
    [Show full text]
  • Since the Early 1990S the Directors and Effects Artists of Numer
    chaPter 1 THE NEW VERTICALITY So neither the horizontal nor the vertical proportion of the screen alone is ideal for it. In actual fact, as we saw, in the forms of nature as in the forms of in- dustry, and in the mutual encounters between these forms, we find the struggle, the conflict between both tendencies. And the screen, as a faith- ful mirror, not only of conflicts emotional and tragic, but equally of con- flicts psychological and optically spatial, must be an appropriate battle- ground for the skirmishes of both these optical- by- view, but profoundly psychological- by- meaning, spatial tendencies on the part of the spectator. —Sergei Eisenstein, “The Dynamic Square” Since the early 1990s the directors and effects artists of numer- ous films—includingTitanic (James Cameron, 1997), the Matrix trilogy (Wachowski Bros., 1999, 2003), X- Men and x2 (Bryan Singer, 2000, 2003), Crouching Tiger, Hidden Dragon (Ang Lee, 2000), Hero (Zhang Yimou, 2002), Avatar (James Cameron, 2009), and Inception (Christopher Nolan, 2010)—have made in- creasing use of the screen’s vertical axis with the aid of new digi- tal technologies. Drawing from cultural sources ranging from the narratives and characters featured in comic books, fantasy novels, and television series to the visual logics of video games and virtual reality, recent blockbusters have deployed a broad range of digital visual effects to create composite film bodies that effortlessly defy gravity or tragically succumb to its pull. In keeping with this tendency, these same films create breath- taking imaginary worlds defined by extreme heights and plunging depths, the stark verticality of which becomes the referential axis of many narra- tive conflicts.
    [Show full text]
  • Reflection and Introspection in the Film Scores Of
    REFLECTION AND INTROSPECTION IN THE FILM SCORES OF THOMAS NEWMAN by CHELSEA NICOLE ODEN A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2016 THESIS APPROVAL PAGE Student: Chelsea Nicole Oden Title: Reflection and Introspection in the Film Scores of Thomas Newman This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Stephen Rodgers Chairperson Jack Boss Member Marian Smith Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Chelsea Nicole Oden iii THESIS ABSTRACT Chelsea Nicole Oden Master of Arts School of Music and Dance June 2016 Title: Reflection and Introspection in the Film Scores of Thomas Newman The most transformative moments in life cause us to look both backward (reflection) and inward (introspection). Likewise, reflective and introspective moments in film often align with important plot points. Separating music and dialogue from the rhythms of the image, these moments suspend time, creating a distinct temporality for the character(s) and the viewer to observe the past and the present in juxtaposition. The music of film composer Thomas Newman brings to life some of the most beautiful reflective and introspective moments in cinema. In this thesis, I approach Newman’s understudied, but highly successful film scores from narrative, musical, and audiovisual perspectives.
    [Show full text]
  • Auteur Music in the Films of Wes Anderson
    Wayne State University Wayne State University Dissertations 1-1-2013 What Is This Music? Auteur Music In The iF lms Of Wes Anderson Lara Rose Hrycaj Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Recommended Citation Hrycaj, Lara Rose, "What Is This Music? Auteur Music In The iF lms Of Wes Anderson" (2013). Wayne State University Dissertations. Paper 662. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. WHAT IS THIS MUSIC? AUTEUR MUSIC IN THE FILMS OF WES ANDERSON by LARA HRYCAJ DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2013 MAJOR: COMMUNICATIONS Approved by: Advisor Date ! ! ! ! ! ! © COPYRIGHT BY LARA HRYCAJ 2013 All Rights Reserved DEDICATION I dedicate this to: Judy, Steve, and Nick Wes, Mark, and Randall and Mandy and the boys ii ACKNOWLEDGMENTS I would like to thank my advisor Jackie Byars. I am indebted to all the wisdom, hard work, and encouragement she has shared on my journey in earning my PhD. I would like to extend my gratitude to my committee. Hayg Oshagan and Juanita Anderson have been part of my entire dissertation process and have always kept me on my toes. I am grateful for Steven Shaviro and Pradeep Sopory for joining my committee late in the process. While Robert Burgoyne had to leave my committee, the genesis of this dissertation is due him sharing one of the earliest academic articles on Wes Anderson with me, and for this I am extremely grateful.
    [Show full text]
  • Cinema Studies: the Key Concepts
    Cinema Studies: The Key Concepts This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today’s students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity. Entries include: • auteur theory • Black Cinema • British New Wave • feminist film theory • intertextuality • method acting • pornography • Third World Cinema • War films A bibliography of essential writings in cinema studies completes an authoritative yet accessible guide to what is at once a fascinating area of study and arguably the greatest art form of modern times. Susan Hayward is Professor of French Studies at the University of Exeter. She is the author of French National Cinema (Routledge, 1998) and Luc Besson (MUP, 1998). Also available from Routledge Key Guides Ancient History: Key Themes and Approaches Neville Morley Cinema Studies: The Key Concepts (Second edition) Susan Hayward Eastern Philosophy: Key Readings Oliver Leaman Fifty Eastern Thinkers Diané Collinson Fifty Contemporary Choreographers Edited by Martha Bremser Fifty Key Contemporary Thinkers John Lechte Fifty Key Jewish Thinkers Dan Cohn-Sherbok Fifty Key Thinkers on History Marnie Hughes-Warrington Fifty Key Thinkers in International Relations Martin Griffiths Fifty Major Philosophers Diané Collinson Key Concepts in Cultural Theory Andrew Edgar and Peter Sedgwick Key Concepts in Eastern Philosophy Oliver Leaman Key Concepts in
    [Show full text]
  • University of Alberta, 2012
    Universidade do Estado do Rio de Janeiro Centro de Educação e Humanidades Instituto de Letras Jayme Soares Chaves Viagens extraordinárias e ucronias ficcionais: uma possível arqueologia do steampunk na literatura Rio de Janeiro 2015 Jayme Soares Chaves Viagens extraordinárias e ucronias ficcionais: uma possível arqueologia do steampunk em literatura Dissertação apresentada como requisito parcial para obtenção do título de Mestre, ao Programa de Pós-Graduação em Letras da Universidade do Estado do Rio de Janeiro. Área de concentração: Teoria da Literatura e Literatura Comparada. Orientador: Prof. Dr. João Cezar de Castro Rocha Rio de Janeiro 2015 CATALOGAÇÃO NA FONTE UERJ/REDE SIRIUS/BIBLIOTECA CEH/B C512 Chaves, Jayme Soares. Viagens extraordinárias e ucronias ficcionais : uma possível arqueologia do steampunk na literatura / Jayme Soares Chaves. – 2015. 128f. Orientador: João Cezar de Castro Rocha. Dissertação (mestrado) – Universidade do Estado do Rio de Janeiro, Instituto de Letras. 1. Ficção científica - Teses. 2. Cinema e literatura – Teses. 3. Verne, Jules, 1828-1905 – Crítica e interpretação – Teses. 4. Ficção steampunk – Teses. 5. Viagens no tempo – Teses. 6. Viagens imaginárias – Teses. I. Rocha, João Cezar de Castro. II. Universidade do Estado do Rio de Janeiro. Instituto de Letras. III. Título. CDU 82-311.9 Autorizo, apenas para fins acadêmicos e científicos, a reprodução total ou parcial desta dissertação desde que citada a fonte ____________________________________ _____________________ Assinatura Data Jayme Soares Chaves Viagens extraordinárias e ucronias ficcionais: uma possível arqueologia do steampunk na literatura Dissertação apresentada, como requisito parcial para obtenção do título de Mestre, ao Programa de Pós-Graduação em Letras, da Universidade do Estado do Rio de Janeiro.
    [Show full text]
  • African Cinemas: Decolonizing the Gaze
    African Cinemas: Decolonizing the Gaze By Olivier Barlet London: Zed Books, 2000. ISBN 1-85649-743-7. 71 illustrations, xii + 315pp. £17.95 (pbk) A review by Martin Stollery, Southampton Institute, UK African films briefly gained a new currency in Western Europe and North America during the period between mid-1980s Live Aid optimism and mid-1990s despairing Western media representations of Rwandan genocide. Olivier Barlet's African Cinemas: Decolonizing the Gaze, an updated English translation of his 1996 Cinémas d'Afrique Noire, is the first book to reflect on this moment. The "fickle audience in the Northern hemisphere" (251-9), which made films like Yeelen (Cissé, 1987) and Tilaï (Ouedraogo, 1990) art cinema successes, now tends to look elsewhere for its exoticism. Although African films are no longer in fashion their increased visibility contributed to a mini-boom in Western European and North American African cinema scholarship during the 1990s. In this book Barlet invites audiences in these locations to be less fickle, outlining instead an approach to watching African films where the spectator: "grasp's' the spirit of a work, to take what the film maker attempted to put into it, not what you think you recognize in it. It would be better to allow oneself to lose one's bearings, to let oneself be carried along by emotion, to replace a deductive approach by an intuitive perception of the film, and let oneself learn what the Other is teaching that is new" (213). One problem with this otherwise enabling approach is that it effectively sidelines consideration of African diaspora audiences' relationships to African films, which cannot quite be accomodated into this Self (implicitly white spectator)/Other (black African film) paradigm.
    [Show full text]
  • IIT Convocation Report 2016-17
    Board of Governors (2016-17) Professor Pradeep Mathur (Chairman, BoG, IIT Indore & Director, IIT Indore) Dr. William Selvamurthy President - Amity Science, Technology & Innovation Foundation (ASTIF), New Delhi Mr. Sanjay Bandopadhyay Principal Secretary, Department of Technical Education & Skill Development, Govt of Madhya Pradesh, Bhopal Dr. I. A. Palani Head, Discipline of MEMS, IIT Indore Mr. Aman Kumar Singh Principal Secretary to Hon. Chief Minister, Government of Chhattisgarh, Energy & Information Technology, Raipur Dr. Somaditya Sen Associate Professor, IIT Indore Mr. Ram Phal Dwivedi Registrar, IIT Indore and Secretary BoG Indian Institute of Technology Indore Convocation Report 2016-17 Institute Functionaries Director, IIT Indore Professor Pradeep Mathur Dean, Academic Affairs Prof. N. K. Jain Dean, Research & Development Dr. A. Kranti Dean, Planning Dr. Rajesh Kumar Indian Institute of Technology Indore Convocation Report 2016-17 Dean, Administration Dr. Pritee Sharma Dean, Student Affairs Dr. Abhishek Srivastava Dean, International Affairs Dr. Kapil Ahuja Registrar, IIT Indore Mr. Ram Phal Dwivedi Indian Institute of Technology Indore Convocation Report 2016-17 Associate Deans Academics: Dr. Vipul Singh Dr. M. Santhakumar Administration: Dr. Somnath Dey Research and Development: Dr. Bhupesh Lad Planning I: Dr. Shaikh M. Mobin Planning II: Dr. Mirza S. Baig Planning III: Dr. Sandeep Chaudhary Heads of Schools Basic Sciences: Dr. Swadesh Kumar Sahoo Engineering: Dr. Shaibal Mukherjee Humanities & Social Sciences: Dr. Sanjram Premjit Khanganba Heads of Department Computer Science & Engineering: Dr. Surya Prakash Electrical Engineering: Dr. Trapti Jain Mechanical Engineering: Dr. Devendra L. Desmukh Civil Engineering: Dr. Sandeep Chaudhary Chemistry: Dr. Satya S. Bulusu Mathematics: Dr. Sk. Safique Ahmad Physics: Dr. Manavendra Mahato Astronomy: Dr.
    [Show full text]
  • The Composite Score: Indiewood Film Music at the Turn of the Twenty-First Century by Jennifer Lauren Psujek
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2016 The ompC osite Score: Indiewood Film Music at the Turn of the Twenty-First Century Jennifer Lauren Psujek Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, and the Music Commons Recommended Citation Psujek, Jennifer Lauren, "The ompositC e Score: Indiewood Film Music at the Turn of the Twenty-First Century" (2016). Arts & Sciences Electronic Theses and Dissertations. 795. https://openscholarship.wustl.edu/art_sci_etds/795 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Patrick Burke Claudia Gorbman Paul Steinbeck Gaylyn Studlar The Composite Score: Indiewood Film Music at the Turn of the Twenty-First Century by Jennifer Lauren Psujek A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2016 St. Louis, Missouri © 2016, Jennifer Lauren Psujek All rights reserved. TABLE OF CONTENTS List of Figures iii List of Tables iv Acknowledgements v INTRODUCTION 1 Indiewood, Composite Scores, and the Mélomanes CHAPTER 1 32 Molding the Composite Score in Eyes Wide Shut (1999) CHAPTER 2 93 Collaboration and Quirkiness in Magnolia (1999) CHAPTER 3 144 Blurred Boundaries in Fight Club (1999) CHAPTER 4 191 Moulin Rouge! (2001) and the Blended Composite Score CONCLUSION 245 BIBLIOGRAPHY 251 ii LIST OF FIGURES 1.1 Alex North’s Notes, pg.
    [Show full text]
  • Complainant: San Diego, CA 92130 CO' 4Y on MUR 5474
    :* REC E IV ED FEDERAL El CTlOM CO’ 4Y ON office of General Council OFFICE -HERAL Federal Election ComrniSsion CGbiidEL 999 E Street, NW Washington, DC 20463 Complainant: Dale A Clausnitzer 11160 Vista Sorrento Pkwy., Apt. 302 I San Diego, CA 92130 RE: MUR 5474 I filed the above complaint in June of 2004. The general nature of the complaint was the illegal use of corporate assets in connection with a federal election. Corporate assets can have multiple uses. In a ‘for-profit’ corporation, an asset of the corporation can be used to generate a profit, but, using or allowing the use of that same asset with the intent to eff- a fkderal election is a clear violation of 114.l(a)( 1) and A other federal election laws. Election laws do not seagate the corporate use of assets.. .. fiev strictlv forbid it. While Dog Eat Dog Films, Inc. may be profiting fkom the websites and the film Fahrenheit 9/11, they have taken actions, made statements, advocated certe actions and allowed uses which have converted these corporate assets to political election use in Violation of 114.1(a)( 1). It also appears that Michael Moore and Dog Eat Dog Films, Inc. intend to continue to de@ federal election laws by using the corporate asset on television just prior to-the November election (See attached USA Today article dated 9/08/2004). “MichaelMme plm to televise Fdrenheit 941 befire the November election, a move he hops will he@ tip votes against President Bush .. ? It should also be noted that ifthere is any doubt about the intention6 to use this corporate asset to eff‘ect a federal election vs.
    [Show full text]