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Beneath the Surface *Animals and Their Digs Conversation Group
FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you. -
Latin American Perspectives
Latin American Perspectives http://lap.sagepub.com/ Representing Absences in the Postdictatorial Documentary Cinema of Patricio Guzmán Patrick Blaine Latin American Perspectives 2013 40: 114 originally published online 19 September 2012 DOI: 10.1177/0094582X12460486 The online version of this article can be found at: http://lap.sagepub.com/content/40/1/114 Published by: http://www.sagepublications.com On behalf of: Latin American Perspectives, Inc. Additional services and information for Latin American Perspectives can be found at: Email Alerts: http://lap.sagepub.com/cgi/alerts Subscriptions: http://lap.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav >> Version of Record - Dec 6, 2012 OnlineFirst Version of Record - Sep 19, 2012 What is This? Downloaded from lap.sagepub.com at Queens University on August 19, 2013 460486LAPXXX10.1177/0094582X12460486Latin American PerspectivesBLAINE 2012 Representing Absences in the Postdictatorial Documentary Cinema of Patricio Guzmán by Patrick Blaine For nearly 40 years, Patricio Guzmán has explored the complex relationships between time, memory, and absence in postdictatorial Chile while infusing his documentaries with personal narrative and devices more commonly seen in literary fiction. His films have redefined the genre from the advent of the New Latin American Cinema through the 2010s and are characterized by marked subjectivity and the representation of absence in the postdictatorial context. His filmmaking, beginning in the early 1970s and ending with his latest film, Nostalgia de la luz (2010), constitutes the most complete attempt in any medium to document Chilean national life before, during, and after the Pinochet dictator- ship (1973–1990). -
Redalyc.Cine Chileno E Industria El Desafío Que Falta
Signo y Pensamiento ISSN: 0120-4823 [email protected] Pontificia Universidad Javeriana Colombia Véliz M., Fernando Cine chileno e industria el desafío que falta Signo y Pensamiento, vol. XXV, núm. 48, enero-junio, 2006, pp. 149-169 Pontificia Universidad Javeriana Bogotá, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=86004810 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto FERNANDO VÉLIZ M.* Cine chileno e industria… Chilean film and industry…the el desafío que falta still missing challenge El cine chileno es un campo discursivo de la industria Chilean cinema is a discursive field of the audiovisual audiovisual aún en proceso de crecimiento. Su historia está industry, still in development stage. Its history is loaded cargada de imprecisiones y múltiples inicios que muchas with vagueness and multiple beginnings that often break veces quedan truncos; es un cine que se ha comprometido at the outset. It is a kind of cinema committed to social con los problemas sociales, pero que también ha sabido issues, which at the same time is not foreign to alienation de lejanías y silencios impuestos; es un cine artesanal que and censorship from above. It is an artsy type that aspires aspira a mirar como industrial; es un cine que narra desde to seem industrial. Chilean cinema narrates from the third el tercer mundo, muchas veces con un 98% de consumo (en world, while 98% of the country’s internal consumption sus momentos más fuertes) de producción norteamericana; (at peak times) pertains to US productions. -
The Importance of Collective Visual Memories in the Representations In
Capturing the Void: The Importance of Collective Visual Memories in the Representations in Documentary Films on September 11, 2001 Jodye D. Whitesell Undergraduate Honors Thesis Department of Film Studies Advisor: Dr. Jennifer Peterson October 24, 2012 Committee Members: Dr. Jennifer Peterson, Film Studies Dr. Melinda Barlow, Film Studies Dr. Carole McGranahan, Anthropology Table of Contents: Abstract…………………………………………………………………………………….. 3 Introduction………………………………………………………………………………… 4 Part I: The Progression of Documentary Film Production………………………………… 9 Part II: September 11, 2001….…………………………………………………………….. 15 Part III: The Immediate Role of the Media………………………………………………... 18 Part IV: Collective Memories and the Media,,,……………………………………………. 25 Part V: The Turn Towards Documentary…………………………………….……………. 34 (1) Providing a Historical Record…………………………………….……………. 36 (2) Challenging the Official Story…………………………………………………. 53 (3) Memorializing the Fallen………………………………………………………. 61 (4) Recovering from the Trauma…………………………………………………... 68 Conclusion…………………………………………………………………………………. 79 Works Cited………………………………………………………………………………... 83 2 Abstract: Documentary films have long occupied a privileged role among audiences as the purveyors of truth, offering viewers accurate reproductions of reality. While this classification is debatable, the role of documentaries as vehicles for collective memory is vital to the societal reconstructions of historical events, a connection that must be understood in order to properly assign meaning to the them. This thesis examines this relationship, focusing specifically on the documentaries produced related to trauma (in this case the September 11 attacks on the United States) as a means to enhance understanding of the role these films play in the lives and memories of their collective audiences. Of the massive collection of 9/11 documentaries produced since 2001, twenty-three were chosen for analysis based on national significance, role as a representative of a category (e.g. -
Notes on Human Rights and Film in Post-Dictatorship Chile, 1990-2004
Staging Dirty War Memory: Notes on Human Rights and Film in Post-Dictatorship Chile, 1990-2004 Steve J. Stern History Department University of Wisconsin-Madison Colloquium Paper for Yale University, Program in Agrarian Studies, Friday 7 November 2008. NOTE: PLEASE DO NOT CITE WITHOUT PERMISSION. CONTEXT: This is an exploratory paper, in the spirit of a workshop on research in progress. In keeping with the spirit of the Agrarian Studies seminars, the written version is preliminary, more like a set of narrative notes than a complete annotated paper. I welcome feedback, and consider the analysis tentative. After completing my current trilogy project (the third volume should appear in 2009) and its corresponding Spanish- language editions, I hope to launch a comparative research project on cinema and memory making about “dirty war” in Argentina, Chile, Peru, with exploration of transnational and U.S. aspects, as well. What you see in this paper is one tiny exploratory slice of the larger project. A key focus of the new project, if I undertake it, will be the social geography of empathy and othering on the one hand, and moral complicity on the other. The premise is that film is an important commodity of mass culture as well as artistic endeavor in Latin America during the last half-century. Film (and in some contexts, theater) can therefore offer insight on the making and exclusions of moral community in times of divided memory about “dirty war” and its legacies. The author may be contacted by e-mail, [email protected], or telephone, 608-263-1841, or mail: Prof. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Machuca(2004)
MACHUCA (2004) Study Notes Dir. Andrés Wood Written by Ana Valbuena Curriculum links GCSE level topics - the young person in society, social and historical issues. Themes include friendship, family, social differences and historical events. Sinopsis Chile, 1973. Gonzalo Infante y Pedro Machuca son dos niños de once años que viven en Santiago, el primero en un barrio acomodado y el segundo en un humilde poblado ilegal recientemente instalado a pocas manzanas de distancia, dos mundos separados por una gran muralla invisible que algunos, en su afán por hacer realidad los sueños de una época llena de esperanzas revolucionarias, quieren derribar. Uno de estos soñadores, el director de un colegio religioso privado, el padre McEnroe, con el apoyo de parte de los padres, integra en el elitista colegio a chicos de familias de escasos recursos procedentes del poblado, con la firme decisión de que aprendan a respetarse mutuamente. Es así como Pedro Machuca está en la misma clase de Gonzalo Infante y entre ellos nace una amistad llena de descubrimientos y sorpresas. Pero a las dificultades objetivas de este intento de integración se agregan las que se derivan del clima de abierto enfrentamiento social que vive la sociedad chilena... (http://www.todocine.com/mov/00512232.htm) Synopsis 1973 Chile and two boys become friends against a background of social unrest, as a public school tries to reform itself by taking in underprivileged kids. In a bid to foster mutual respect and tolerance, Father McEnroe - the headmaster of this private parochial school - admits children from the poor shantytown families. He is determined they will learn to respect each other. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Screenings at 5:00 Pm
ALL SCREENINGS AT 5:00 PM WITH ENGLISH SUBTITLES FREE AND OPEN TO THE PUBLIC HUMANITIES GATEWAY 1070 McCORMICK SCREENING ROOM FOR DETAILED INFORMATION ABOUT THE FILMS AND PREVIEWS, VISIT OUR WEBSITE: http://www.humanities.uci.edu/spanishandportuguese/events/ OR OUR FACEBOOK PAGE http://www.facebook.com/UCIfilmfestival2014 * A sneak preview of selected scenes to be presented by the director Lorena Manríquez. Festival Directors: Alex Borucki, Viviane Mahieux, Jacobo Sefamí Festival Organizers: Pedro Acuña, Romina Green, James Hirsch, Patricia Quintana April 28 – En la puta vida (In This Tricky Life) Q&A after the film with star Mariana Santangelo* Year - 2001 Director – Beatriz Flores Silva Country – Uruguay, Argentina, Cuba, España, Bélgica Time – 103 minutes Language – Spanish with English subtitles Format – DVD Click for preview Elisa, 27, dreams of opening her own hairdressing salon in one of the rich districts of the Uruguayan capital. A bit of a rebel, one day Elisa moves out of her mother's house with her two children and breaks up with Garcia, her boss and lover who has infuriated her by not wanting to get married. So, in the space of twenty-four hours, Elisa finds herself without a roof over her head, without a man, without a job and without money. Her best friend Loulou finds her a job - in the brothel run by Dona Jacqueline. And without really being aware of it, Elisa slides into prostitution, which leads her to Barcelona. She falls in love, she is exploited, she gets involved in transvestite gang wars, and meanwhile just dreams of earning enough money for her little beauty salon back home. -
Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
Literature, Peda
The Pennsylvania State University The Graduate School College of the Liberal Arts THE STUDENTS OF HUMAN RIGHTS: LITERATURE, PEDAGOGY, AND THE LONG SIXTIES IN THE AMERICAS A Dissertation in Comparative Literature by Molly Appel © 2018 Molly Appel Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2018 ii The dissertation of Molly Appel was reviewed and approved* by the following: Rosemary Jolly Weiss Chair of the Humanities in Literature and Human Rights Dissertation Advisor Chair of Committee Thomas O. Beebee Edwin Erle Sparks Professor of Comparative Literature and German Charlotte Eubanks Associate Professor of Comparative Literature, Japanese, and Asian Studies Director of Graduate Studies John Ochoa Associate Professor of Spanish and Comparative Literature Sarah J. Townsend Assistant Professor of Spanish and Portuguese Robert R. Edwards Edwin Erle Sparks Professor of English and Comparative Literature Head of the Department of Comparative Literature *Signatures are on file in the Graduate School. iii ABSTRACT In The Students of Human Rights, I propose that the role of the cultural figure of the American student activist of the Long Sixties in human rights literature enables us to identify a pedagogy of deficit and indebtedness at work within human rights discourse. My central argument is that a close and comparative reading of the role of this cultural figure in the American context, anchored in three representative cases from Argentina—a dictatorship, Mexico—a nominal democracy, and Puerto Rico—a colonially-occupied and minoritized community within the United States, reveals that the liberal idealization of the subject of human rights relies upon the implicit pedagogical regulation of an educable subject of human rights. -
Palmerston North City Library Massey University School of Language Studies Latin American Society
Palmerston North City Library Massey University School of Language Studies Latin American Society Present the 2010 Latin American Film Festival in Palmerston North 12-23 October – 7pm City Library’s Sound & Vision Zone All films in Spanish with English subtitles Gold Coin Donation With Support from and Friends of the Library TUESDAY 12 OCTOBER – 7 pm El secreto de sus ojos / The Secret in Their Eyes Argentina – Directed by Juan José Campanella Running time: 129 min The Secret in Their Eyes Reviewed by Matthew Turner – The ViewLondon Review Beautifully made and superbly written, this is an emotionally absorbing thriller with a terrific central performance from Ricardo Darin. What's it all about? The winner of the 2010 Oscar for best foreign film, The Secret in Their Eyes is directed by Juan Jose Campanella and stars Ricardo Darin (Nine Queens) as Benjamin Esposito, a recently retired criminal court investigator, whose efforts to write a novel are frustrated when he finds himself unable to shake the memories of a 25-year-old murder case. After visiting his ex-superior Irene (Soledad Villamil), who's now a high court judge, Benjamin decides to reinvestigate the case and we flash back to his first view of the crime scene, where a beautiful young woman was raped and murdered. As Benjamin attempts to recall the details of the case, the various events unfold, from the questioning of the victim's troubled husband (Pablo Rago) to the discovery and arrest of a probable suspect (Javier Godino), only for the authorities to subsequently let him go for nefarious purposes of their own.