Ch Cago School 27Th Annual
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New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-15-2015 Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Ricci, James Anthony, "Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6021 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art by James A. Ricci A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Hunt Hawkins, Ph.D. Victor Peppard, Ph.D. Date of Approval: November 13, 2015 Keywords: New Media, Narratology, Manovich, Bakhtin, Cinema Copyright © 2015, James A. Ricci DEDICATION This dissertation is dedicated to my wife, Ashlea Renée Ricci. Without her unending support, love, and optimism I would have gotten lost during the journey. ACKNOWLEDGMENTS I owe many individuals much gratitude for their support and advice throughout the pursuit of my degree. -
CONGRESSIONAL RECORD— Extensions of Remarks E810 HON. KAY GRANGER HON. HEATH SHULER HON. DENNIS J. KUCINICH HON. JEB HENSARLIN
E810 CONGRESSIONAL RECORD — Extensions of Remarks May 11, 2010 Hagenbeck also developed an integration be- a passion for the arts and politics, and he had RECOGNIZING REVEREND DAVID tween Army applied problem sets and West a lifelong mission to make the world a better EVERSON DAY Point research and intellectual capital, drawing place. from across West Point to stand up the Na- Mr. Palevsky, the son of Jewish Polish im- HON. RON PAUL tional Military Academy of Afghanistan and migrants, was born and raised in Chicago dur- OF TEXAS graduate the first class into the Afghan Army ing the Great Depression. His mother was a IN THE HOUSE OF REPRESENTATIVES in 2009. homemaker and his father worked as a house Tuesday, May 11, 2010 Madam Speaker, LTG Hagenbeck com- painter; neither spoke much English. During manded West Point while our Nation was at World War II, he served as an electronics offi- Mr. PAUL. Madam Speaker, on May 16, war. And it is well known within military circles cer in the Army Air Forces. Following his serv- 2010, Galveston, Texas will celebrate Rev- that field commanders competed to bring his ice, he studied math and philosophy at the erend David Everson Day in honor of Rev- graduating cadets into their units. This is testi- University of Chicago, where he earned a erend Everson’s eleven years of service as mony both to the quality of the graduates and bachelor’s degree in 1948. Mr. Palevsky be- the pastor of the First Union Baptist Church. I to LTG Hagenbeck’s exemplary leadership as came a titan in the computer industry as a am pleased to join the First Union Baptist con- the 57th Superintendent of West Point. -
Sessões Recomendadas Para Crianças L São, Além Das INFANTIS: FUTURO ANIMADOR E ANIMATV
PETROBRAS apresenta k'FTUJWBM*OUFSOBDJPOBM EF"OJNB}{PEP#SBTJM 3JPEF+BOFJSP BEF+VMIP Centro Cultural Banco do Brasil Centro Cultural Correios Casa França-Brasil Oi Futuro Cinema Odeon-BR Unibanco Arteplex Botafogo 4P1BVMP EF+VMIPBnEF"HPTUP Memorial da América Latina Centro Cultural Banco do Brasil 1 ATENÇÃO: Anima Mundi informa que as sessões recomendadas para crianças L são, além das INFANTIS: FUTURO ANIMADOR e ANIMATV. 14 As demais sessões não são recomendadas para menores de 14 anos. RIO DE JANEIRO Locais De Exibição Obs: Pagam meia-entrada: maiores de 60 (sessenta) anos e crianças até 12 (doze) anos. Centro Cultural Casa França-Brasil Banco do Brasil (CCBB) Rua Visconde de Itaboraí, 78, Centro Rua Primeiro de Março, 66, Centro Informações: (21) 2332-5121 Informações: (21) 3808-2020 Horário de funcionamento: Horário de funcionamento: 10h às 21h Estúdio Aberto: Ter a Dom 13h às 19h, Ingresso: R$ 6,00 (meia entrada R$ 3,00) Entrada franca Sessões gratuitas: Infantis, AnimaTV e Futuro Animador, retirada de senhas somente no dia da sessão Unibanco Arteplex Botafogo com 1 hora de antecedência na bilheteria Praia de Botafogo, 316 Térreo, Botafogo Informações: (21) 2559-8750 Centro Cultural Correios Horário de funcionamento: 12h às 22h Rua Visconde de Itaboraí, 20, Centro Ingresso: R$ 6,00 (meia entrada: R$ 3,00), Informações: (21) 2253-1580 Vendas por dia, a partir da abertura da bilheteria Horário de funcionamento: 11h30 às 19h30 Oi Futuro Flamengo · Sala de Cinema Rua Dois de Dezembro, 63, Flamengo Entrada Franca, Classificação Livre, Informações: -
Dvd- Gesamtverzeichnis
34 / FILM, FERNSEHEN, HÖRFUNK DVD- GESAMTVERZEICHNIS STAND: NOVEMBER 2014 WWW.GOETHE.DE/FILMKATALOG GESAMTVERZEICHNIS ALLER AUF DVD ERSCHIENENEN FILME Alle hier verlinkten Filme stehen In ausführlicher Form im Goethe-Institut Filmkatalog unter www.goethe.de/filmkatalog Die DVD ist für DAAD-Lektoren und Ortslektoren über das Goethe-Institut bestellbar (Frau Heidrun Lange, [email protected]) zum Verbleib im Lektorat bestellbar, unter Wahrung von Lizenzzeiten und Sperrgebieten. bestellbar Der Film ist nicht einzeln, sondern nur als Gesamtpaket mit xx DVDs Paket mit xx DVDs erhältlich. nur Ausleihe DVD ist nur über die regionalen Filmarchive ausleihbar. Sofern ein regionales Filmarchiv die DVD erworben hat, so ist diese über nur Ausleihe, wenn vom GIA das Filmarchiv selbst ausleihbar – Informationen dazu, ob eine dieser so erworben gekennzeichneten DVDs vorliegt, stehen im Goethe-Institut Filmkatalog unter www.goethe.de/filmkatalog Wichtige Anmerkung Wichtige, zu beachtende Anmerkung in der Spalte STATUS. Kursiv markierte Titel stehen nicht zur Verfügung wegen abgelaufenen nicht zur Verfügung Lizenzrechten. TITEL FILMPAKET/FILMREIHE IN-NR. STATUS 10 Fragen an die Demokratie Demokratie für alle? IN 3570 nur Ausleihe 14 Diaries of the GREAT WAR (14 Tagebücher 1. Weltkrieg IN 3889 nur Ausleihe des Ersten Weltkriegs) 20. Juli, Der Artur Brauner Filmreihe IN 3684 bestellbar 4 Tage im Mai IN 3717 bestellbar Lotte Reiniger Edition Abenteuer des Prinzen Achmed, Die IN 1112 nur Ausleihe Kinderfilm Abschied - Brechts letzter Sommer Jan Schütte IN 1690 bestellbar Alexander Kluge Edition Abschied von der sicheren Seite des Lebens IN 2915 nur Ausleihe Edition Filmmuseum Nr. 29 Alexander Kluge Edition Abschied von gestern IN 1045 nur Ausleihe Edition Filmmuseum Nr. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Defining Decorative, Examining Design
LACMA Evenings for Educators DEFINING DECORATIVE, EXAMINING DESIGN __________________________________________________________________ ESIGN IS ALL AROUND US. FROM SMALL-SCALE HOUSEHOLD OBJECTS TO massive architectural features, decorative and functional objects effect our daily lives and reflect our societal values. By studying Dthese objects, we learn about the forms, uses, and meanings of objects, designs, and environments in everyDay life. When we explore the decorative arts anD design, we consiDer a number of factors, including the artists’ choices about subject, style, material, and function. To begin an exploration of decorative arts anD design with students, pose the following questions: What do you see? Collect visual information. What is the central subject or focus of this work? What are the surrounding details? Artists think carefully about the appearance of their designs. Consider the artist’s choice of color, size, shape, surface pattern, and texture. The artworks featured in these materials represent a wiDe range of cultures and time periods. What was it used for? Who may have used it? What are the intended uses or functions of these objects? How can we tell? What do these items imply about the time anD place in which they were created, or about the people who may have used them? By carefully examining works of art, we can also understand the historical, cultural, and geographical influences of the periods in which they were made. How was it made? What material is the artwork made of? What factors may have influenced the artists’ choice of materials? What historical events took place arounD the time this artwork was made? What technology was available at that time? Was the object mass produceD or hanDcrafteD? Many factors influence the choice of materials, incluDing cost, durability, weight, flexibility, availability, the manufacturing anD engineering processes, and the scale of production. -
Soul Boy Seite 1 Von 15
12/10 Film des Monats: Soul Boy Seite 1 von 15 Ausgabe Dezember 2010: Soul Boy (Kinostart: 02.12.2010) Filmbesprechung Soul Boy Interview "Es hat uns alle irgendwie verändert" Hintergrund FilmAfrica! Hintergrund Junge Lebenswelten im subsaharischen Kino Anregungen für den Unterricht Arbeitsblatt 12/10 Film des Monats: Soul Boy Seite 2 von 15 Soul Boy Deutschland, Kenia 2010 Drama Kinostart: 02.12.2010 Verleih: X Verleih AG Regie: Hawa Essuman Drehbuch: Billy Kahora Darsteller/innen: Samson Odhiambo, Leila Dayan Opollo, Krysteen Savane, Frank Kimani, Joab Ogolla, Lucy Gachanja u. a. Kamera: Christian Almesberger Laufzeit: 60 min, dt.F. Format: 35mm/Digital, Farbe, Cinemascope Filmpreise: International Film Festival Rotterdam: Dioraphte Audience Award; Kalasha Film and TV Awards 2010: Bester Kurzfilm, Bester Hauptdarsteller (Samson Odhiambo), Drehbuch (Billy Kahora); Internationale Filmfestspiele Berlin 2010 (Sektion Generation/Kplus) FSK: ab 6 J. FBW-Prädikat: Besonders Wertvoll Altersempfehlung: ab 10 J. Klassenstufen: ab 5. Klasse Themen: Afrika, Erwachsenwerden, Coming of Age, Tradition, Mythos Unterrichtsfächer: Deutsch, Religion, Erdkunde/Geografie, Kunst, Ethik Eine Seele retten Matt und müde kauert der Vater des 14-jährigen Abila auf dem Boden im Hinterraum seines kleinen Geschäfts. Nicht zum ersten Mal sieht der Junge seinen Vater in einem solchen Zustand. Doch dieses Mal ist es anders – ernster. Man habe ihm seine Seele geraubt, stammelt der Vater. Keinen Augenblick zögert Abila und rennt los. Hinaus in den Slum Kibera, den größten in der kenianischen Hauptstadt Nairobi, um die Seele seines Vaters zu retten. Abila rennt Dass diese Szene in ihrer Dynamik an Lola rennt (Deutschland 1998) von Tom Tykwer erinnert, ist kein Zufall, denn der deutsche Regisseur war maßgeblich an der Produktion von Soul Boy beteiligt. -
Courts-Metrages
COURTS-METRAGES vieux dessins animés libres de droits (Popeye, Tom et Jerry, Superman…) : https://archive.org/details/animationandcartoons page d’accueil (adultes et enfants (films libres de droit) : https://www.apar.tv/cinema/700-films-rares-et-gratuits-disponibles-ici-et-maintenant/ page d’accueil : https://films-pour-enfants.com/tous-les-films-pour-enfants.html page d’accueil : https://creapills.com/courts-metrages-animation-compilation-20200322 SELECTION Un film pour les passionnés de cyclisme et les nostalgiques des premiers Tours de France. L'histoire n'est pas sans rappeler la réelle mésaventure du coureur cycliste français Eugène Christophe pendant la descente du col du Tourmalet du Tour de France 1913. Eugène Christophe cassa la fourche de son vélo et marcha 14 kilomètres avant de trouver une forge pour effectuer seul la réparation, comme l'imposait le règlement du Tour. Les longues moustaches du héros sont aussi à l'image d'Eugène Christophe, surnommé "le Vieux Gaulois". (7minutes , comique) https://films-pour-enfants.com/fiches-pedagogiques/14.html pickpocket Une course-poursuite rocambolesque. (1minute 27) https://films-pour-enfants.com/fiches-pedagogiques/korobushka.html salles gosses (1 minutes 30) Oui, les rapaces sont des oiseaux prédateurs et carnivores ! Un film comique et un dénouement surprenant pour expliquer aux enfants l'expression "être à bout de nerfs". https://films-pour-enfants.com/fiches-pedagogiques/sales-gosses.html i am dyslexic (6 minutes 20) Une montagne de livres ! Une très belle métaphore de la dyslexie et des difficultés que doivent surmonter les enfants dyslexiques. https://films-pour-enfants.com/fiches-pedagogiques/i-am-dyslexic.html d'une rare crudité et si les plantes avaient des sentiments (7 minutes 45) Un film étrange et poétique, et si les plantes avaient des sentiments. -
Hi Guess the Movie 2016 Answers
33. Argo 75. The Dark Knight 117. Mary Poppins 34. Resident Evil 76. The Matrix 118. Scoob Doo* 35. Up 77. Wall-E 119. Tarzan 36. The Smurfs 78. Amelie 120. Top Gun 37. Gladiator 79. Sin City 121. Tron Hi Guess The Movie 2016 38. Taken 80. The Incredibles 122. Blood Diamond Answers 39. Aladdin 81. Les Miserables 123. Yogi Bear - Man Zhang 40. Ghost Rider 82. Machete 124. The Help 41. G.I. Joe 83. Psycho 125. Spirited Away Main Game 42. Blade 84. Kill Bill 126. Puss in Boots 1. Cars 43. Madagascar 85. Mega Mind 127. Hulk 2. Iron Man 44. The Hobbit 86. Wreck It Ralph 128. The Shining 3. King Kong 45. X-Men 87. Shutter Island 129. The Deer Hunter 4. E.T. 46. Toy Story 88. Green Lantern 130. The Dictator 5. The Godfather 47. Braveheart 89. Hell Boy 131. The Graduate 6. Fury 48. The Simpsons 90. Rocky 132. The Karate Kid 7. Harry Potter 49. Troy 91. Jaws 133. The Sixth Sense 8. The Lion King 50. Tomb Raider 92. Casper 134. The Wolverine 9. Spider-Man 51. The Iron Lady 93. Borat 135. The Great Escape 10. Ice Age 52. Bambi 94. Bruce Almighty 136. The Mask of Zorro 11. Transformers 53. Austen Powers 95. Tangled 137. The Pianist 12. Planes 54. Cinderella 96. Fantastic Four 138. The Terminal 13. Scream 55. Jurassic Park 97. The Green Mile 139. Flight 14. Brave 56. Star Wars 98. V for Vendetta 140. Identity 15. Ted 57. Spongebob 99. Snow White 141. -
Nairobi-Based Middle Class Filmmakers and the Production and Circulation of Transnational Cinema
This is a repository copy of Nairobi-based middle class filmmakers and the production and circulation of transnational cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/139627/ Version: Accepted Version Article: Steedman, R. orcid.org/0000-0003-1033-9318 (2018) Nairobi-based middle class filmmakers and the production and circulation of transnational cinema. Poetics. ISSN 0304-422X https://doi.org/10.1016/j.poetic.2018.11.002 Article available under the terms of the CC-BY-NC-ND licence (https://creativecommons.org/licenses/by-nc-nd/4.0/). Reuse This article is distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND) licence. This licence only allows you to download this work and share it with others as long as you credit the authors, but you can’t change the article in any way or use it commercially. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Nairobi-based Middle Class Filmmakers and the Production and Circulation of Transnational Cinema Abstract: Filmmakers in Nairobi are embedded within transnational circuits of cinematic production and distribution. Many make use of Euro-American funding to make their films and seek to show their films in prestigious festivals outside Africa, but in so doing they are critiqued by scholars and critics who worry that the involvement of This sort of criticism does not account for the fact that Euro-American audiences and filmmakers from elsewhereoutsiders in might African share cinema a common curtails taste filmmakers’ in stories. -
University of Chicago A0126 B0126
U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180126 Gramts.gov Tracking#: GRANT12659932 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180126 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (1235-CEAS GEPA Statement 2018_Final) e12 6. Grants.gov Lobbying Form e17 7. Dept of Education Supplemental Information for SF-424 e18 8. ED Abstract Narrative Form e19 Attachment - 1 (1234-CEAS_abstract_FINAL) e20 9. Project Narrative Form e22 Attachment - 1 (1238-CEAS_Project Description_NARRATIVE_FINAL) e23 10. Other Narrative Form e84 Attachment - 1 (1236-CEAS_Appendices_FINAL) e85 11. Budget Narrative Form e202 Attachment - 1 (1237-CEAS - Title VI Project Budget formatted for application_FINAL-1) e203 This application was generated using the PDF functionality. The PDF functionality automatically numbers the pages in this application. Some pages/sections of this application may contain 2 sets of page numbers, one set created by the applicant and the other set created by e-Application's PDF functionality. Page numbers created by the e-Application PDF functionality will be preceded by the letter e (for example, e1, e2, e3, etc.). Page e2 OMB Number: 4040-0004 Expiration Date: 12/31/2019 Application for Federal Assistance SF-424 * 1. Type of Submission: * 2. Type of Application: * If Revision, select appropriate letter(s): Preapplication New Application Continuation * Other (Specify): Changed/Corrected Application Revision * 3. -
Miptv 2020 Producers to Watch Contents
MIPTV 2020 PRODUCERS TO WATCH CONTENTS DOC & FACTUAL 3 DRAMA / FICTION 36 FORMATS 112 KIDS & TEENS 149 DOC & FACTUAL DOC & FACTUAL PRODUCERS LISTED BY COUNTRY AUSTRIA FINLAND HUNGARY SOUTH AFRICA COLLABORATE: IDEAS & IMAGES GS FILM FILM-& FERNSEHPRODUKTION AITO MEDIA SPEAKEASY PROJECT HOMEBREW FILMS Lauren Anders Brown E.U. Erna AAlto László Józsa Jaco Loubser EMPORIUM PRODUCTIONS Gernot Stadler GIMMEYAWALLET PRODUCTIONS OKUHLE MEDIA Emma Read Phuong Chu Suominen IRELAND Pulane Boesak IMPOSSIBLE DOC & FACTUAL BELGIUM RAGGARI FILMS FELINE FILMS Adam Luria CLIN D’ŒIL Minna Dufton Jessie Fisk SPAIN WOODCUT MEDIA Hanne Phlypo BRUTAL MEDIA Matthew Gordon FRANCE JAPAN Raimon Masllorens BELGIUM COLLABORATION INC 4TH DOC & FACTUAL TAMBOURA FILMS UNITED STATES EKLEKTIK PRODUCTION Bettina Hatami Toshikazu Suzuki Xaime Barreiro CREATIVE HEIGHTS ENTERTAINMENT Tatjana Kozar Jaswant Dev Shrestha BLEU KOBALT KOREA ZONA MIXTA CANADA Florence Sala GINA DREAMS PRODUCTION Robert Fonollosa GALAXIE Sunah Kim DBCOM MEDIA SWITZERLAND Nicolas Boucher Thierry Caillibot GEDEON PROGRAMMES PERU SLASH PRODUCTION TORTUGA Jean-Christophe Liechti Adam Pajot Gendron Maya Lussier Seguin PACHA FILMS URBANIA MÉDIAS HAUTEVILLE PRODUCTIONS Luis Del Valle UNITED KINGDOM Philippe Lamarre Karina Si Ahmed POLAND ALLEYCATS ILLEGITIME DEFENSE Desmond Henderson CHINA Arnaud Xainte KIJORA FILM Anna Gawlita BIG DEAL FILMS - UNSCRIPTED DA NENG CULTURE MEDIA YUZU PRODUCTIONS Thomas Stogdon Hengyi Zhi Christian Popp PORTUGAL CHALKBOARD TV ENCOUNTER MEDIA Simon Cooper Qi Zhao PANAVIDEO Diana Nunes SHUTTER BUG STUIO(BEIJING) Hongmiao Yu GS FILM FILM-& FERNSEHPRODUKTION E.U. AUSTRIA My previous works & partners : We have produced over 70 documentaries/docu-dramas and documentary series on various topics such as human interest, history, culture and nature.