Documentary Movies
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY
Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY CHRONOLOGICAL LIST OF CANADIAN FEATURE FILMS, FEATURE DOCUMENTARIES AND MADE-FOR-TELEVISION FILMS, 1945-2011 COMPILED BY PAUL GRATTON MAY, 2012 2 5.Fast Ones, The (Ivy League Killers) 1945 6.Il était une guerre (There Once Was a War)* 1.Père Chopin, Le 1960 1946 1.Canadians, The 1.Bush Pilot 2.Désoeuvrés, Les (The Mis-Works)# 1947 1961 1.Forteresse, La (Whispering City) 1.Aventures de Ti-Ken, Les* 2.Hired Gun, The (The Last Gunfighter) (The Devil’s Spawn) 1948 3.It Happened in Canada 1.Butler’s Night Off, The 4.Mask, The (Eyes of Hell) 2.Sins of the Fathers 5.Nikki, Wild Dog of the North 1949 6.One Plus One (Exploring the Kinsey Report)# 7.Wings of Chance (Kirby’s Gander) 1.Gros Bill, Le (The Grand Bill) 2. Homme et son péché, Un (A Man and His Sin) 1962 3.On ne triche pas avec la vie (You Can’t Cheat Life) 1.Big Red 2.Seul ou avec d’autres (Alone or With Others)# 1950 3.Ten Girls Ago 1.Curé du village (The Village Priest) 2.Forbidden Journey 1963 3.Inconnue de Montréal, L’ (Son Copain) (The Unknown 1.A tout prendre (Take It All) Montreal Woman) 2.Amanita Pestilens 4.Lumières de ma ville (Lights of My City) 3.Bitter Ash, The 5.Séraphin 4.Drylanders 1951 5.Have Figure, Will Travel# 6.Incredible Journey, The 1.Docteur Louise (Story of Dr.Louise) 7.Pour la suite du monde (So That the World Goes On)# 1952 8.Young Adventurers.The 1.Etienne Brûlé, gibier de potence (The Immortal 1964 Scoundrel) 1.Caressed (Sweet Substitute) 2.Petite Aurore, l’enfant martyre, La (Little Aurore’s 2.Chat dans -
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. -
Mutual Watching and Resistance to Mass Surveillance After Snowden
Media and Communication (ISSN: 2183-2439) 2015, Volume 3, Issue 3, Pages 12-25 Doi: 10.17645/mac.v3i3.277 Article “Veillant Panoptic Assemblage”: Mutual Watching and Resistance to Mass Surveillance after Snowden Vian Bakir School of Creative Studies and Media, Bangor University, Bangor, LL57 2DG, UK; E-Mail: [email protected] Submitted: 9 April 2015 | In Revised Form: 16 July 2015 | Accepted: 4 August 2015 | Published: 20 October 2015 Abstract The Snowden leaks indicate the extent, nature, and means of contemporary mass digital surveillance of citizens by their intelligence agencies and the role of public oversight mechanisms in holding intelligence agencies to account. As such, they form a rich case study on the interactions of “veillance” (mutual watching) involving citizens, journalists, intelli- gence agencies and corporations. While Surveillance Studies, Intelligence Studies and Journalism Studies have little to say on surveillance of citizens’ data by intelligence agencies (and complicit surveillant corporations), they offer insights into the role of citizens and the press in holding power, and specifically the political-intelligence elite, to account. Atten- tion to such public oversight mechanisms facilitates critical interrogation of issues of surveillant power, resistance and intelligence accountability. It directs attention to the veillant panoptic assemblage (an arrangement of profoundly une- qual mutual watching, where citizens’ watching of self and others is, through corporate channels of data flow, fed back into state surveillance of citizens). Finally, it enables evaluation of post-Snowden steps taken towards achieving an equiveillant panoptic assemblage (where, alongside state and corporate surveillance of citizens, the intelligence-power elite, to ensure its accountability, faces robust scrutiny and action from wider civil society). -
Tisch School of the Arts
18 Visible TISCH SCHOOL New York University EOFvidence THE ARTS August 11-14, 2011 NEW YORK, WELCOME EVER VIGILANT, IS THE CITY THAT never sleeps, a perfect setting for an international TO YOU ALL! conference on documentary film. We extend our thanks to Tisch School of the Arts, Cinema Studies Pro- WITHIN THE BROADER CONTEXT fessor, and Visible Evidence 18 Conference Director, Jon- of our Moving Image Archiving and Preservation Program athan Kahana for his energetic efforts to bring the confer- and Certificate Program in Culture and Media, the De- ence to the Big Apple. Professor Kahana has deployed his superb organizational skills to assemble an impressive set of partment of Cinema Studies at NYU is committed to sponsoring institutions and panelists over the four days of the developing both pedagogy and practice in the field conference and we are grateful to him and the legion of vol- of documentary. The fact that this year we are unteers and participating institutions who made hosting Visible Evidence 18 is a demonstra- this event possible. The Visible Evidence 18 Con- ference is a bittersweet occasion: we celebrate a tion of that commitment as well as a validation, great filmmaker, the “dean” of documentary film, as Jonathan Kahana writes, of documentary film-mak- George Stoney, Professor Emeritus in the Tisch ers’ long love affair with New York. I want to congratulate School’s Kanbar Institute of Film and Television, Professor Kahana for putting together this stellar conference and we pay tribute to our school’s beloved and renowned theorist and historian, the late Rob- and mobilizing such a wide range of institutional collabora- ert Sklar, Professor Emeritus in the department tors across the city. -
Mark Kitchell
A film by Mark Kitchell 101 min, English, Digital (DCP/Blu-ray), U.S.A, 2012, Documentary FIRST RUN FEATURES The Film Center Building | 630 Ninth Ave. #1213 | New York, NY 10036 (212) 243-0600 | Fax (212) 989-7649 | [email protected] www.firstrunfeatures.com www.firstrunfeatures.com/fiercegreenfire About the Film A FIERCE GREEN FIRE: The Battle for a Living Planet is the first big-picture exploration of the environmental movement – grassroots and global activism spanning fifty years from conservation to climate change. Directed and written by Mark Kitchell, Academy Award- nominated director of Berkeley in the Sixties, and narrated by Robert Redford, Ashley Judd, Van Jones, Isabel Allende and Meryl Streep, the film premiered at Sundance Film Festival 2012, won acclaim at festivals around the world, and in 2013 begins theatrical release as well as educational distribution and use by environmental groups. Inspired by the book of the same name by Philip Shabecoff and informed by advisors like E.O. Wilson and Tom Lovejoy, A FIERCE GREEN FIRE chronicles the largest movement of the 20th century and one of the keys to the 21st. It brings together all the major parts of environmentalism and connects them. It focuses on activism, people fighting to save their homes, their lives, the future – and succeeding against all odds. The film unfolds in five acts, each with a central story and character: • David Brower and the Sierra Club’s battle to halt dams in the Grand Canyon • Lois Gibbs and Love Canal residents’ struggle against 20,000 tons of toxic chemicals • Paul Watson and Greenpeace’s campaigns to save whales and baby harp seals • Chico Mendes and Brazilian rubbertappers’ fight to save the Amazon rainforest • Bill McKibben and the 25-year effort to address the impossible issue – climate change Surrounding these main stories are strands like environmental justice, going back to the land, and movements of the global south such as Wangari Maathai in Kenya. -
A Pilot Method for Movie Selection and Initial Results
Movies for use in Public Health Training: A Pilot Method for Movie Selection and Initial Results Nick Wilson,* Rachael Cowie, Michael G Baker, Philippa Howden-Chapman Department of Public Health, University of Otago, Wellington, New Zealand October 2009 *Correspondence to: Dr Nick Wilson Department of Public Health, University of Otago, Wellington PO Box 7343 Wellington South, New Zealand. Phone (64)-4-385 5541 ext. 6469 Fax (64)-4-389 5319 Email: [email protected] Abstract Background: A method for systematically identifying, selecting, and ranking high quality movies for public health training does not exist. We therefore aimed to pilot a method and use it to generate an initial selection of suitable movies in a range of public health categories. Methods: To identify possible movies, systematic searches were undertaken of two large movie databases. If meeting minimal criteria for entertainment value (using public and critic ratings), the movies were then systematically evaluated for training suitability. Results: Using the search strategy we developed, it appeared feasible to systematically identify movies of potential educational value for public health training. Out of a total of 29 movies selected for viewing and more detailed assessment, the top ranked 15 were selected as having reasonable potential for training. There was a high correlation between scores of the movie assessors (Spearman’s rho = 0.80, p<0.00001). Also 75% of the top 15 movies were found to be referred to in Medline-indexed publications. Conclusion: This pilot study was able to develop a method for systematically identifying and selecting movies that could potentially be used for public health training. -
Teaching and Learning Against All Odds: a Video- Based Study of Learner-To-Instructor Interaction in International Distance Education
International Review of Research in Open and Distance Learning Volume 10, Number 4. ISSN: 1492-3831 September – 2009 Teaching and Learning Against all Odds: A Video- Based Study of Learner-to-Instructor Interaction in International Distance Education Jean-Marie Muhirwa Equitas – The International Centre for Human Rights Education, Canada Abstract Distance education and information and communication technologies (ICTs) have been marketed as cost-effective ways to rescue struggling educational institutions in developing countries, particularly in sub-Saharan Africa (SSA). This study uses classroom video analysis and follow-up interviews with teachers, students, and local tutors to analyse the interaction at a distance between learners in Mali and Burkina Faso and their French and Canadian instructors. Findings reveal multiple obstacles to quality interaction: frequent Internet disconnections, limited student access to computers, lack of instructor presence, ill-prepared local tutors, student unfamiliarity with typing and computer technology, ineffective technical support, poor social dynamics, learner- learner conflict, learner-instructor conflict, and student withdrawal and resignation. In light of the near death of the costly World Bank-initiated African Virtual University (AVU), this paper concludes by re-visiting the educational potential of traditional technologies, such as radio and video, to foster development in poor countries. Keywords: Distance education; interaction; interactivity; sub-Saharan Africa; learners‘ support; Internet -
DOCUMENTARY FILMS Page 1 of 10
DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966)) -
Becoming Autistic: How Do Late Diagnosed Autistic People
Becoming Autistic: How do Late Diagnosed Autistic People Assigned Female at Birth Understand, Discuss and Create their Gender Identity through the Discourses of Autism? Emily Violet Maddox Submitted in accordance with the requirements for the degree of Master of Philosophy The University of Leeds School of Sociology and Social Policy September 2019 1 Table of Contents ACKNOWLEDGEMENTS ................................................................................................................................... 5 ABSTRACT ....................................................................................................................................................... 6 ABBREVIATIONS ............................................................................................................................................. 7 CHAPTER ONE ................................................................................................................................................. 8 INTRODUCTION .............................................................................................................................................. 8 1.1 RESEARCH OBJECTIVES ........................................................................................................................................ 8 1.2 TERMINOLOGY ................................................................................................................................................ 14 1.3 OUTLINE OF CHAPTERS .................................................................................................................................... -
A Communication Study of Contemporary Documentary Film
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 Art and Persuasion: A Communication Study of Contemporary Documentary Film Lauren Elizabeth Freeman Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Freeman, Lauren Elizabeth, "Art and Persuasion: A Communication Study of Contemporary Documentary Film" (2007). Honors Theses. 2004. https://egrove.olemiss.edu/hon_thesis/2004 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. ART AND PERSUASION: A COMMUNICATION STUDY OF CONTEMPORARY DOCUMENTARY FILM By Lauren Elizabeth Freeman A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2007 Approved by , , L Ad^or: Professor Joe Atkins Readei1p^fessoLPmch£ll££maiiuel,PhD Reader: Professor Charles Gates, PhD ©2007 Lauren Elizabeth Freeman ALL RIGHTS RESRERVED ACKNOWLEDGEMENTS The author of this paper incurs many debts of gratitude throughout the long and tedious process of completing this honors senior thesis. A special expression of gratitude goes to my thesis adviser, Professor Joseph Atkins, for his supportive direction throughout the preparation of this research project. Sincere appreciation is extended to niy thesis readers. Dr. Michelle Emanuel and Dr. Charles Gates, and to those filmmakers who shared their time and thoughts with me on documentary filmmaking. I extend my heartfelt gratitude to my family and fnends for their continued support and encouragement.