INTRODUCTION “An Invention Without a Future”
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Towards an Aesthetic of the Migrant Self — the Film Le Clandestin by José Zeka Laplaine
MARIE–HÉLÈNE GUTBERLET ⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯ Towards an Aesthetic of the Migrant Self — The Film Le Clandestin by José Zeka Laplaine A BSTRACT: The representation of migrant arrivals in Europe is at the centre of this investigation of Zeka Laplaine’s short film Le Clandestin (1996). Placing the short film in the context of the African cinematographic traditions of earlier, more conventional, migrant narratives, the essay shows that the associative structure and the postmodern use of irony and magical realism in this short film question both our sense of familiarity and the promise of effortless transcultural communication. 1 OST FILMS (cinema and television productions) dealing with African migration, especially migration to Europe, are produced M and realized by European film and broadcasting companies. They reflect a specific attitude towards individuals and their situation and towards the issue of foreign presence on European soil. The portrayal and production of the African migrant in European media represents a complex field of poli- tically, socially, racially, and aesthetically relevant influences that would need to be analysed specifically. Awareness of these issues has spread beyond the academic field: everybody is more or less familiar with the images of African migrants, with the unease, the exaggerations, humiliations, and transformations taking place in the production of these images, and has learned to view against the grain and sometimes see behind the obvious. Another concern underlies the present essay: are there other ways of expressing and showing the arrival of © Transcultural Modernities: Narrating Africa in Europe, ed. Elisabeth Bekers, Sissy Helff & Daniela Merolla (Matatu 36; Amsterdam & New York NY: Editions Rodopi, 2009). -
Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
'Transmission from the Liberated Zones' (Filipa César, 2015)
Repositorium für die Medienwissenschaft Malin Wahlberg Archives of the present − memory work in the making: ‘Transmission from the Liberated Zones’ (Filipa César, 2015) 2017 https://doi.org/10.25969/mediarep/3388 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Wahlberg, Malin: Archives of the present − memory work in the making: ‘Transmission from the Liberated Zones’ (Filipa César, 2015). In: NECSUS. European Journal of Media Studies, Jg. 6 (2017), Nr. 1, S. 237– 244. DOI: https://doi.org/10.25969/mediarep/3388. Erstmalig hier erschienen / Initial publication here: https://www.necsus-ejms.org/test/archives-of-the-present-%E2%88%92-memory-work-in-the-making-transmission- from-the-liberated-zones-filipa-cesar-2015/ Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org Archives of the present − memory work in the making: ‘Transmission from the Liberated Zones’ (Filipa César, 2015) NECSUS 6 (1), Spring 2017: 237–244 URL: https://necsus-ejms.org/archives-of-the-present-−-memory- work-in-the-making-transmission-from-the-liberated-zones-filipa- cesar-2015/ Keywords: Africa, archive, art, exhibition, Filipa César, film, Guinea- Bissau National libraries, museums, and archives are potential sites for knowledge production and shared memory work, but they tend also to be monuments of state power, of selection and exclusion. -
Entretien Avec Fernando Solanas : La Déchirure
Document generated on 09/29/2021 5:14 p.m. 24 images Entretien avec Fernando Solanas La déchirure Janine Euvrard Cinéma et exil Number 106, Spring 2001 URI: https://id.erudit.org/iderudit/23987ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this document Euvrard, J. (2001). Entretien avec Fernando Solanas : la déchirure. 24 images, (106), 33–38. Tous droits réservés © 24 images, 2001 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CINÉMA ET EXIL Entretien avec Fernando Solanas LA DÉCHIRURE PROPOS RECUEILLIS PAR JANINE EUVRARD 24 IMAGES: Au mot exil dans le Petit Larousse, on lit «expulsion». Ce n'est pas toujours le cas; parfois la personne prend les devants et part avant d'être expulsée. Pouvez-vous nous raconter votre départ d'Argentine? Il est des cinéastes pour qui la vie, la création, le rapport FERNANDO SOLANAS: Votre question est intéressante. Il y a au pays et le combat politique sont viscéralement indisso souvent confusion, amalgame, lorsqu'on parle de gens qui quittent leur pays sans y être véritablement obligés, sans y être vraiment en ciables. -
Contenido Estrenos Mexicanos
Contenido estrenos mexicanos ............................................................................120 programas especiales mexicanos .................................. 122 Foro de los Pueblos Indígenas 2019 .......................................... 122 Programa Exilio Español ....................................................................... 123 introducción ...........................................................................................................4 Programa Luis Buñuel ............................................................................. 128 Presentación ............................................................................................................... 5 El Día Después ................................................................................................ 132 ¡Bienvenidos a Morelia! ................................................................................... 7 Feratum Film Festival .............................................................................. 134 Mensaje de la Secretaría de Cultura ....................................................8 ......... 10 Mensaje del Instituto Mexicano de Cinematografía funciones especiales mexicanas .......................................137 17° Festival Internacional de Cine de Morelia ............................11 programas especiales internacionales................148 ...........................................................................................................................12 jurados Programa Agnès Varda ...........................................................................148 -
Fernando A. Blanco Wittenberg University & John Petrus the Ohio
REVISTA DE CRÍTICA LITERARIA LATINOAMERICANA Año XXXVII, No 73. Lima-Boston, 1er semestre de 2011, pp. 307-331 ARGENTINIAN QUEER MATER. DEL BILDUNGSROMAN URBANO A LA ROAD MOVIE RURAL: INFANCIA Y JUVENTUD POST-CORRALITO EN LA OBRA DE LUCÍA PUENZO Fernando A. Blanco Wittenberg University & John Petrus The Ohio State University Resumen En este artículo analizamos la obra visual y literaria de la directora y narradora argentina Lucía Puenzo en su excepcionalidad estética y ética. Mediante un análisis de dos de sus películas, XXY y El niño pez, basadas en un cuento y una novela, discutimos la apropiación de géneros canónicos de ambas tradiciones –Bildungsroman y road movie– como estrategia de instalación generacional. Por medio del recurso a estos modelos formativos de la subjetividad, Puenzo logra posicionar alternativas identitarias refractarias a la normalización heterosexual de lo nacional-popular en el campo cultural argentino. Trabajando desde una clave de interpretación diferente de la de los relatos de memoria en la post democracia neoliberal, Puenzo sitúa problemáticas adolescentes en el entre- cruzamiento de modos y maneras excéntricos de habitar lo social-global en el capitalismo tardío. Sus filmes, de este modo, abren la posibilidad de reflexionar sobre el derecho a ciudadanías culturales, étnicas y sexuales de grupos minoritarios. Palabras clave: Puenzo, Bildungsroman, road movie, sujeto queer, parodia, memoria, Argentina, literatura, cine. Abstract In this article we analyze the exceptional ethics and aesthetics of the visual and literary work of the Argentine writer-director Lucía Puenzo. Through an analysis of two of her films, XXY and The Fish Child, based on a short story and a novel, respectively, we discuss her appropriation of canonical genres–the Bildungsroman and the road movie–as a strategy of generational displacement. -
APPEAL US Don't Know! Conference on Artistic Research - 2021-10-02
APPEAL US www.open-frames.net/appeal_us don't know! conference on artistic research - 2021-10-02 15 principles of Black Market International, Michaël La Chance 2 ou 3 chose que je sais d'elle, Jean-Luc Godard 30 minuten, Arjen Ederveen 55 stars, tattooman 56 stars, tattooman 8 1/2, Federico Fellini A Buttle of Coca-Cola, Interview with John Cage A la recherche du temps perdu, Marcel Proust A Voice And Nothing More, Mladen Dolar Accuracy & Aesthetics, Deborah MacPherson Ademkristal, Paul Celan Against Method, Paul Feyerabend Aliens & Anorexia, Chris Kraus All Movies, by Toni Queeckers ALTERMODERN, Nicolas Bourriaud An Anthology of Optimism, Peter de Buysser & Jacob Wren Apparatus for the Distillation of Vague Intuitions, Eve Andree Laramee APPEAL US , all contributors Apur Sansar, Satyajit Ray Arm en Rijk , prof. Davis S. Landes At Land, Maya Deren Bin Jip / 3-Iron (movie), Kim Ki-duk Black Mass, John Gray Body Pressure, Bruce Nauman (1974) Calimero, C in China Call of Cthulhu, HP Lovecraft Canopus in Argos : Archives, Doris Lessing Case Study Homes, Peter Bialobrzeski Catalogue of Strategies, Mieke Gerritzen ea Cheap lecture, Jonathan Burrows Clara et la pénombre , José Carlos Somoza Cornered (1988) , Adrian Piper De man zonder eigenschappen, Robert Musil De Princes Op De Erwt, Hans Christian Andersen Dear Wendy, Thomas Vinterberg / Lars von Trier Decreation, William Forsythe / Anne Carson Deep Democracy of Open Forums, Arnold Mindell Der Mann Ohne Eigenschaften, Robert Musil Der Spiegel im Spiegel, Michael Ende DIAL H–I–S–T–0–R–Y (1997), Johan Grimonprez Die Gesellschaft der Gesellschaft (2 vols), Niklas Luhmann Disfigured Study, Meg Stuart APPEAL US - http://www.open-frames.net/appeal_us_II/ - Page 1/4 Dodes'kaden ( 1970), Akira Kurosawa Don't Stop Me Now, Queens Don't Stop Me Now , Worldclock Environmental Health Clinic, Natalie Jeremijenko Erotism: Death and Sensuality, Georges Bataille Espèces d'espaces, Georges Perec Flight of the Conchords, HBO series Francis Alys (Contemporary Artists), Francis Alys Franny and Zooey, J.D. -
An Analysis of Miguel Gomes' Oeuvre
Divided Hybrids: An Analysis of Miguel Gomes’ Oeuvre Francisco Vergueiro Martins Fontes 11689986 Date: 26/06/2018 Supervisor: Dr. Abraham Geil Second Reader: Dr. Marie-Aude Baronian Media Studies: Film Studies University of Amsterdam Table of Contents Introduction 03 Chapter 1: Foundations - Shorts & The Face You Deserve 06 Chapter 2: Recognitions - Our Beloved Month of August 15 Chapter 3: Recollections - Tabu 24 Chapter 4: Dreams - Arabian Nights 33 Conclusion 45 Bibliography 47 Filmography 48 List of Illustrations 49 !2 Introduction Documentaries and fiction films have been intertwining since 1895, when we first saw moving images of workers leaving the Lumière factory. This hybridization of registers has been explored since the very start but, like most aspects of our day-to-day, it is an idea that is constantly evolving and reinventing itself. This reinvention of ideas can be compared to André Bazin’s belief that cinema was yet to be invented (Myth 17) - a statement that can still be considered true when analyzing the development and eventual reinvention of specific filmmaking methods. The essential difference is that, while Bazin believed cinema was trying to catch up to the myth of its total enactment - in order to eventually reach an end result - in this case cinema continues to be “invented” due to its openness for experimentation - one without an end. The Portuguese critic-turned-director Miguel Gomes is behind a body of work that is distinctive in how it shifts between documentary and narrative filmmaking techniques, helping with this slow “invention” of the seventh art through formal experimentation. Strongly, but not exclusively, due to his mixture of techniques, his oeuvre is also firmly linked to realism, keeping such theories relevant, and as contemporary as his own work. -
French Department Course Brochure 2017-2018
FRENCH DEPARTMENT COURSE BROCHURE 2017-2018 This brochure is also available on our website: http://www.wellesley.edu/french TABLE OF CONTENTS Page Course Descriptions………………………………… 2 – 26 Honors in the French Major (360/370)……..…..…27 – 31 Advanced Placement & Language Requirements, Graduate Study and Teaching………………………32 Requirements for the French Major……….………….33 The French Cultural Studies Major………..…..……..33 Linguistics Course Descriptions…………….……...…34 Maison Française/French House………………….….37 Wellesley-in-Aix……………………………….….……37 Faculty...………………………………………………..38 Awards and Fellowships…………………...……….…41 French Department Sarah Allahverdi ([email protected])….. (781) 283-2403 Hélène Bilis ([email protected]) ….. (781) 283-2413 Venita Datta ([email protected]) ….. (781) 283-2414 On Leave Spring 2018 Sylvaine Egron-Sparrow ([email protected]) ….. (781) 283-2415 French House assistantes….. (781) 283-2413 Marie-Cécile Ganne-Schiermeier ([email protected]) ….. (781) 283-2412 Scott Gunther ([email protected]) ….. (781) 283-2444 Chair-Spring 2018 Andrea Levitt ([email protected]) ….. (781) 283-2410 Barry Lydgate ([email protected]) ….. (781) 283-2439 Catherine Masson ([email protected]) ..….. (781) 283-2417 Codruţa Morari ([email protected]) ….. (781) 283-2479 James Petterson ([email protected]) ….. (781) 283-2423 Anjali Prabhu ([email protected]) ….. (781) 283-2495 Marie-Paule Tranvouez ([email protected]) ….. (781) 283-2975 David Ward ([email protected]) ….. (781) 283-2617 Chair-Fall 2017 Course Distribution, when applicable, is noted in parenthesis following the prerequisites. 1 FRENCH 101-102 (FALL & SPRING) BEGINNING FRENCH I AND II Prerequisite: Open to students who do not present French for admission or by permission of the instructor. French 101-102 is a yearlong course. Students must complete both semesters satisfactorily to receive credit for either course. -
O Caso De Portugal Film-Induced Tourism
Universidade de Aveiro Departamento de Economia, Gestão e Engenharia 2013 Industrial SUSAN O CINETURISMO – O CASO DE PORTUGAL BELINDA CARVALHO FILM-INDUCED TOURISM – THE CASE OF PORTUGAL Universidade de Aveiro Departamento de Economia, Gestão e Engenharia 2013 Industrial SUSAN O CINETURISMO – O CASO DE PORTUGAL BELINDA CARVALHO FILM-INDUCED TOURISM – THE CASE OF PORTUGAL Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Gestão e Planeamento em Turismo, realizada sob a orientação científica do Doutor Armando Luís Vieira, Professor Auxiliar do Departamento de Economia, Gestão e Engenharia Industrial da Universidade de Aveiro e coorientação da Doutora Alcina Pereira de Sousa, Professora Auxiliar do Centro de Competências de Artes e Humanidades da Universidade da Madeira. ii I dedicate this dissertation to my mum, Celeste Nóbrega for all her support throughout this entire process and for always believing in me. o júri Presidente Prof. Doutora Zélia Maria de Jesus Breda professora auxiliar convidada do Departamento de Economia, Gestão e Engenharia Industrial da Universidade de Aveiro Prof. Doutor Moritz Von Schwedler professor auxiliar convidado da Escola de Economia e Gestão da Universidade do Minho Prof. Doutor Armando Luís Lima de Campos Vieira professor auxiliar do Departamento de Economia, Gestão e Engenharia Industrial da Universidade de Aveiro iv acknowledgements First of all, I would like to thank my family for their support and patience throughout this long and stressful journey. I would like to thank my supervisor, Prof. Doctor Armando Vieira for having provided the necessary guidance and keeping me on the right path. I would also like to give a special thank you to Prof. -
Cine-Ethiopia: the History and Politics of Film in the Horn of Africa Published by Michigan University Press DOI: 10.14321/J.Ctv1fxmf1
This is the version of the chapter accepted for publication in Cine-Ethiopia: The History and Politics of Film in the Horn of Africa published by Michigan University Press DOI: 10.14321/j.ctv1fxmf1 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/32029 CINE-ETHIOPIA THE HISTORY AND POLITICS OF FILM IN THE HORN OF AFRICA Edited by Michael W. Thomas, Alessandro Jedlowski & Aboneh Ashagrie Table of contents INTRODUCTION Introducing the Context and Specificities of Film History in the Horn of Africa, Alessandro Jedlowski, Michael W. Thomas & Aboneh Ashagrie CHAPTER 1 From የሰይጣን ቤት (Yeseytan Bet – “Devil’s House”) to 7D: Mapping Cinema’s Multidimensional Manifestations in Ethiopia from its Inception to Contemporary Developments, Michael W. Thomas CHAPTER 2 Fascist Imperial Cinema: An Account of Imaginary Places, Giuseppe Fidotta CHAPTER 3 The Revolution has been Televised: Fact, Fiction and Spectacle in the 1970s and 80s, Kate Cowcher CHAPTER 4 “The dead speaking to the living”: Religio-cultural Symbolisms in the Amharic Films of Haile Gerima, Tekletsadik Belachew CHAPTER 5 Whether to Laugh or to Cry? Explorations of Genre in Amharic Fiction Feature Films, Michael W. Thomas 2 CHAPTER 6 Women’s Participation in Ethiopian Cinema, Eyerusalem Kassahun CHAPTER 7 The New Frontiers of Ethiopian Television Industry: TV Serials and Sitcoms, Bitania Taddesse CHAPTER 8 Migration in Ethiopian Films, at Home and Abroad, Alessandro Jedlowski CHAPTER 9 A Wide People with a Small Screen: Oromo Cinema at Home and in Diaspora, Teferi Nigussie Tafa and Steven W. Thomas CHAPTER 10 Eritrean Films between Forced Migration and Desire of Elsewhere, Osvaldo Costantini and Aurora Massa CHAPTER 11 Somali Cinema: A Brief History between Italian Colonization, Diaspora and the New Idea of Nation, Daniele Comberiati INTERVIEWS Debebe Eshetu (actor and director), interviewed by Aboneh Ashagrie Behailu Wassie (scriptwriter and director), interviewed by Michael W. -
LALITHA GOPALAN Spring 2019 Department of Radio-Television
LALITHA GOPALAN Spring 2019 Department of Radio-Television-Film 1 University Station A0800 The University of Texas at Austin Austin, Texas 78712 Affiliate Faculty Department of Asian Studies Core Faculty Center for Women and Gender Studies Telephone: 512-471-4071 Email: [email protected] EMPLOYMENT Associate Professor, Department of Radio-Television–Film and Department of Asian Studies, University of Texas at Austin, Fall 2007-present. Visiting Associate Professor, Department of East Asian Languages and Cultures, University of California, Berkeley, Spring 2009 and Spring 2011. Associate Professor, School of Foreign Service and Department of English, Georgetown University, 2002-2007. Assistant Professor, School of Foreign Service and Department of English, Georgetown University, 1992-2002. Visiting Faculty, Digital Media Summer Institute, UT Austin/Portugal, Porto, Summer 2018. Visiting Faculty, iNova Media Lab, UT Austin/Portugal, Lisboa, Summer 2018. EDUCATION Ph.D. University of Rochester, Comparative Literature Program, Department of Foreign Languages, Literatures, and Linguistics M.A. University of Rochester, Anthropology M.A. Delhi School of Economics, Sociology B.A. Madras Christian College, Economics 2 PUBLICATIONS BOOKS Cinema of India. Edited. London: Wallflower Press. 2010. (Distributed in the USA by Columbia University Press) Bombay. BFI Modern Classics. London: British Film Institute. December 2005. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. London: British Film Institute Publishing. 2002. (Indian Reprint Delhi: Oxford University Press, 2002) ARTICLES AND ESSAYS ‘Roundtable discussion on Experimental Cinemas in India.’ In World Experimental Films. Ed. Federico Windhausen. London: Wiley Blackwell. Submitted January 2018. Forthcoming. ‘Beginnings and Children.’ In The Child in World Cinema. Ed. Karen Lury. London:BFI/Bloomsbury.