Edward M. Bowen III Department of French & Italian 1445 Jayhawk Blvd Rm

Total Page:16

File Type:pdf, Size:1020Kb

Edward M. Bowen III Department of French & Italian 1445 Jayhawk Blvd Rm Edward M. Bowen III Department of French & Italian 1445 Jayhawk Blvd Rm. 2083 Lawrence, KS 66045 [email protected] (540) 622-7088 EDUCATION Ph.D., Italian (May 2015), Indiana University. Bloomington, Indiana Minor in Communication and Culture Dissertation Title: Nuovi Cinema Paradiso?: Closure, Urban Renewal, and Grassroots Movements in Rome, 1993-2014 M.A., Italian (2008), University of Wisconsin, Madison, Wisconsin M.A., History (2000), Wake Forest University, Winston-Salem, North Carolina Thesis Title: “We Rise and Fall Together”: Black Women Activists and Interracial Anti-slavery Societies in Philadelphia and Boston, 1831-1855 B.A., History, with Distinction, (1998), James Madison University, Harrisonburg, Virginia TEACHING EXPERIENCE The University of Kansas – Lawrence, Kansas August 2016 – present Advanced Lecturer of Italian / Academic Program Associate I teach courses on literature, film, contemporary culture, urban studies, and all levels of Italian language. I also serve as co-director of the summer study abroad program in Florence, and I am responsible for assessments of the Italian program. I create reports on core goal outcomes for individual courses and for the Italian major. Wake Forest University – Winston-Salem, North Carolina July 2015 – June 2016 Visiting Assistant Professor of Italian I taught four sections of Intermediate Italian and two sections of Elementary Italian. I created all exams and added features to syllabi, including oral exams, vocab quizzes and a short film project. Bennington College – Bennington, Vermont Feb. 2015 - June 2015 Visiting Position in Italian I designed and taught a course titled “Cinematic Rome: Space, Urban Life and Film Culture,” cross-listed with Architecture and Film Studies, and a second-semester language course titled “Contemporary Youth in Italy.” I also served as an advisor to Italian majors. Indiana University – Bloomington, Indiana Aug. 2012 – June 2013 Associate Instructor – Department of French & Italian I taught the first three grammar courses of our department’s language requirement using the communicative teaching method. Collaborated with a team of instructors on all assessments. Middlebury College - Middlebury, Vermont Summer 2011 Instructor, Italian Summer Language Program I designed and taught a course “Contemporary Italian Cinema: Urban Social Issues and Today’s Youth” focusing on migration, marginality, the housing crisis, and precarious work. University of Wisconsin - Madison, Wisconsin Sept. 2004 - May 2005 Teaching Assistant, Department of French & Italian Sept. 2006 - May 2007 I taught Elementary and Intermediate Italian. I created lesson plans, co-wrote exams, and codeveloped the syllabus. COURSES TAUGHT The University of Kansas ITAL 495 Directed Readings (in Florence, taught several times) ITAL 450 Studies in Italian Cinema ITAL 340 Modern Rome ITAL 340 Contemporary Italian Cinema ITAL 340 Florence: Portrait of a City ITAL 340 Migration to and from Italy ITAL 340 The Migrant Experience ITAL 336 Italy and the Italians (taught twice) ITAL 315 Advanced Conversation and Composition ITAL 301 Introduction to Italian Literature and Textual Analysis ITAL 240 Intermediate Italian II (taught several times) ITAL 230 Intermediate Italian I ITAL 155 Accelerated Elementary Italian Wake Forest University ITAL 153 Intermediate Italian (taught several times) ITAL 113 Accelerated Elementary Italian ITAL 112 Elementary Italian II Bennington College ITAL 4493 Cinematic Rome ITAL 4121 Contemporary Youth in Italy (Intermediate Italian) Indiana University ITAL 200 Intermediate Italian 1 ITAL 150 Elementary Italian 2 (taught twice) ITAL 100 Elementary Italian 1 (taught several times) Middlebury College ITAL 3171 Contemporary Italian Cinema University of Wisconsin-Madison ITAL 102 Intermediate Italian (taught twice) ITAL 101 Elementary Italian (taught twice) PUBLICATIONS Edited Volumes The Cinema of Ettore Scola. Co-edited with Rémi Lanzoni. Detroit: Wayne State University Press (forthcoming Spring 2020). Peer Reviewed Articles “C’era una volta il cinema Corso. Storia di una sala cinematografica romana durante il fascismo.” Cinema e storia. Rivista di studi interdisciplinari, Vol. 1, (2018), pp. 103- 23. “‘Take Notice of the Red Light!’ A History of Adult Cinemas in Rome.” Journal of Italian Cinema and Media Studies, Vol. 5:1 (2017), pp. 3-21. “The Editorial Principles of Anton Federigo Seghezzi and his Giuntina Project.” Textual Cultures (forthcoming Spring 2020). Book Chapters “Ettore Scola’s Legacy: A Statesman for Italian Cinema” in The Cinema of Ettore Scola, edited by Rémi Lanzoni and Edward Bowen. Detroit: Wayne State University Press, (forthcoming Spring 2020). “Tales of Courage: Trade Stories of Italian Independent Cinema” for Italian Independent Cinema: Legacies and Transformations, edited by Anthony Cristiano and Carlo Coen. (under review) Review Essays “Six Recent Documentaries on Migration” in Studies in Documentary Film, Vol. 5, 2-3 (2011). Interviews “Intervista con Marco Tullio Giordana” in Incontri cinematografici e culturali tra due mondi, edited by Antonio Vitti, Pesaro, Metauro Press, 2012. “Intervista con Enrico Lo Verso” in Incontri culturali da oltre oceano, edited by Antonio Vitti. Pesaro, Metauro Press, 2008. Reviews Simona Bondavalli, Fictions of Youth. Pier Paolo Pasolini, Adolescence, Fascisms. University of Toronto Press in Luci e Ombre, Vol. 3,3 (2015). Philip Balma and Giovanni Spani, eds.: L'Italia letteraria e cinematografica dal secondo Novecento ai giorni nostri. Nerosubianco in Italica Vol. 90,3 (2013). EDITORIAL EXPERIENCE Editorial Assistant, Luci e ombre (online journal) Sept. 2012 – Sept. 2016 Editorial Assistant, Italica Aug. 2013 – Aug. 2014 Assistant editor, Quaderni del ‘900 (U.S. editorial board) Aug. 2011 - May 2012 OTHER RELATED EXPERIENCE Indiana University – Bloomington, Indiana Aug. 2012 – Aug. 2014 Lab Assistant, Center for Language Technology and Instructional Enrichment Provided support to language instructors with the use of camcorders, digital audio recorders, video conversion, and editing software in the multimedia lab. Indiana University - Bloomington, Indiana Aug. 2010 – June 2012 Graduate Research Assistant, Department of French & Italian Assisted Italian film professor for a total of eight courses for undergraduates and graduates on the following topics: Films of Francesco Rosi (graduate); Comedy Italian Style; Filmic Representations of Italian History; Mafia and Anti-Mafia on the Screen (graduate and undergraduate); Contemporary Italian Cinema (3 sections). I prepared materials, led discussions on readings, and I taught a one-credit supplementary course in Italian on contemporary cinema. Middlebury College - Middlebury, Vermont Summer 2006, 2007, 2008, 2009 Program Assistant, Italian Summer Language Program Beyond office duties and event preparation, I served as a teaching assistant to guest professors, including filmmakers Tonino Valerii and Claudio Bondì, and writer Dacia Maraini. Università degli Studi di Siena. Siena, Italy Sept. 2007 – Feb. 2008 English Lab Assistant Conversation in English with the undergraduates and with employees of Banca Monte dei Paschi di Siena. Cataloguing of new language materials. Preparation of course packets for students. University of Michigan, Villa Corsi-Salviati, Sesto Fiorentino, Italy Sept. 2005 – May 2006 House Fellow, Study Abroad Program Assistant Assistant to the program director and villa director. Worked as resident assistant, accompanied students on field trips, maintained library and organized various events. CONFERENCE PARTICIPATION Co-organizer International Symposium, “The Cinema of Ettore Scola,” Casa Artom, Wake Forest University, Venice, Italy, October 22-23, 2016. Presenter Symposium, “The Cinema of Ettore Scola,” Casa Artom, Venice, Italy, October 22, 2016 “Scola’s Legacy: A Statesman for Italian Cinema” SCMS, Atlanta, Georgia, April 1, 2016 “Film Culture at a Roman Cinema Palace during Fascism.” SCMLA, Nashville, Tennessee, November 1, 2015 “The Cinema America Occupation in Rome: Resonance of Protest Frames.” New Terrain - Landscape, Space, and Place Graduate Student Conference, Indiana University, Bloomington, Indiana, February 27-28, 2014 “Reconstructing a Cinema and its History: Louis Vuitton’s Conversion of the Cinema Etoile in Rome.” SAMLA, Atlanta, Georgia, November 9, 2013 “The Fate of Former Red Light Cinemas near Rome's Termini Station.” The Louisville Conference on Literature and Culture since 1900, University of Louisville, Louisville, Kentucky. February 22, 2013 “The Occupation of the Cinema Palazzo in Rome: Elements of a Social Movement.” Symposium on Contemporary Italian Cinema, Indiana University, Bloomington, Indiana “Tracking the ‘King of Cinema’: The Practices of Exhibitor Giovanni Amati and the Growth of His Cinema Circuit.” April 21, 2018. “From Cinema Palace to Maison Louis Vuitton: Marketing the Conversion of the Cinema Etoile in Rome.” April 25, 2014. “‘Hands off the Met!’: Responses to the Closure of the Cinema Metropolitan in Rome.” April 17-20, 2013 “‘This is the last Italian film you will see’: The Rhetoric of Recent Protests in Defense of the Nation’s Film Industry and Cultural Patrimony.” April 11-14, 2012 “Transnational Reception of Matteo Garrone’s Gomorrah.” April 13-16, 2011 “West Side Story, Barona Style: The Cult Film Fame Chimica, Its Soundtrack and the Social Problems of Contemporary Italy.” April 7-11, 2010. INVITED PRESENTATIONS Italian Cultural Institute, New York, New York. Presentation of Sergio Basso’s documentary
Recommended publications
  • Company Profile Fenix Entertainment About Us
    COMPANY PROFILE FENIX ENTERTAINMENT ABOUT US Fenix Entertainment is a production company active also in the music industry, listed on the stock exchange since August 2020, best newcomer in Italy in the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa. Its original, personalized and cutting-edge approach are its defining features. The company was founded towards the end of 2016 by entrepreneurs Riccardo di Pasquale, a former bank and asset manager and Matteo Di Pasquale formerly specializing in HR management and organization in collaboration with prominent film and television actress Roberta Giarrusso. A COMBINATION OF MANY SKILLS AT THE SERVICE OF ONE PASSION. MILESTONE 3 Listed on the stock exchange since 14 Produces the soundtrack of Ferzan Produces the film ‘’Burraco Fatale‘’. August 2020, best newcomer in Italy in Ozpetek's “Napoli Velata” the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa First co-productions Produces the soundtrack "A Fenix Entertainment cinematographic mano disarmata" by Claudio Distribution is born Bonivento Acquisitions of the former Produces the television Produces the film works in the library series 'That’s Amore' “Ostaggi” Costitution Fenix Attend the Cannes Film Festival Co-produces the film ‘’Up & Produces the “DNA” International and the International Venice Film Down – Un Film Normale‘’ film ‘Dietro la product acquisition Festival notte‘’ 2016 2017 2018 2019 2020 “LA LUCIDA FOLLIA DI MARCO FERRERI” “UP&DOWN. UN FILM “NAPOLI VELATA” original “BEST REVELATION” for Fenix Entertainment • David di Donatello for Best Documentary NORMALE” Kineo award soundtrack Pasquale Catalano Anna Magnani Award to the production team • Nastro d’Argento for Best Film about Cinema for Best Social Docu-Film nominated: • David di Donatello for Best Musician • Best Soundtrack Nastri D’Argento “STIAMO TUTTI BENE” by Mirkoeilcane “DIVA!” Nastro D’Argento for the Best “UP&DOWN.
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • Milan and the Memory of Piazza Fontana Elena Caoduro Terrorism
    Performing Reconciliation: Milan and the Memory of Piazza Fontana Elena Caoduro Terrorism was arguably the greatest challenge faced by Western Europe in the 1970s with the whole continent shaken by old resentments which turned into violent revolt: Corsican separatists in France, German speaking minorities in Italy’s South Tyrol, and Flemish nationalists in Belgium. Throughout that decade more problematic situations escalated in the Basque Provinces and Northern Ireland, where ETA and the Provisional IRA, as well as the Loyalist paramilitary groups (such as the UVF, and UDA) participated in long armed campaigns. According to Tony Judt, two countries in particular, West Germany and Italy, witnessed a different violent wave, as the radical ideas of 1968 did not harmlessly dissipate, but turned into a ‘psychosis of self- justifying aggression’ (2007, p. 469). In Italy, the period between 1969 and 1983, where political terrorism reached its most violent peak, is often defined as anni di piombo, ‘the years of lead’. This idiomatic expression derives from the Italian title given to Margarethe Von Trotta’s Die bleierne Zeit (1981, W. Ger, 106 mins.), also known in the UK as The German Sisters and in the USA as Marianne and Juliane.1 Following the film’s Golden Lion award at the 1981 Venice Film Festival, the catchy phrase ‘years of lead’ entered common language, and is now accepted as a unifying term for the various terrorist phenomena occurred in the long 1970s, both in Italy and West Germany. By the mid 1980s, however, terrorism had begun to decline in Italy. Although isolated episodes of left-wing violence continued to occur – two governmental consultants were murdered in 1999 and in 2002 respectively – special laws and the reorganisation of anti-terrorist police forces enabled its eradication, as did the 1 collaboration of many former radical militants.
    [Show full text]
  • Stille Liebe
    Stille Liebe Secret Love Antonia and Mikas see with their eyes, and they hear with their eyes too. Antonia's and Mikas' eyes meet. It becomes the glance of two people in love. When you're in love – even if you can hear – listening with your eyes becomes one of those precious moments. (Christoph Schaub, Director) SECRET LOVE 05.2001/T&C FILM AG A production by T&C Film, Zurich/ Switzerland Producer Marcel Hoehn Crew Director Christoph Schaub Screenplay Peter Purtschert, Christoph Schaub Photography Thomas Hardmeier Music Antoine Auberson Editing Fee Liechti Cast Antonia Emmanuelle Laborit Mikas Lars Otterstetd Verena Renate Becker Fritz Wolfram Berger Other roles: Renate Steiger, Roeland Wisnekker, Michael Neuenschwander. Location/Duration of shoot Switzerland and USA/ 33 days Sponsored by Bundesamt für Kultur des Eidgenössischen, Departementes des Innern, Stadt und Kanton Zurich, Kantone bei der Basel, Kulturfonds Suissimage, Succès Cinéma In collaboration with Schweizer Fernsehen DRS and Teleclub Original version German/sign language, 35mm, colour, 90 min., Dolby SR World Sales T&C EDITION Seestrasse 41a, CH-8002 Zürich Phone: +41 1 202 - 36 22 Fax: -30 05 [email protected] www.tcfilm.ch 05.2001/T&C FILM AG Log-line Antonia, a deaf nun, falls in love with the deaf pickpocket, Mikas. The story ends in death for Mikas. But for Antonia it is the start of a new life. Short résumé In order to be able to do her work in a centre for the homeless, Antonia (27), a deaf nun, has to make the daily journey from her convent to the city by train.
    [Show full text]
  • Italian Films (Updated April 2011)
    Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni.
    [Show full text]
  • Manifest Density: Decentering the Global Western Film
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Manifest Density: Decentering the Global Western Film Michael D. Phillips The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2932 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIFEST DENSITY: DECENTERING THE GLOBAL WESTERN FILM by MICHAEL D. PHILLIPS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 Michael D. Phillips All Rights Reserved ii Manifest Density: Decentering the Global Western Film by Michael D. Phillips This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________ ________________________________________________ Date Jerry W. Carlson Chair of Examining Committee __________________ ________________________________________________ Date Giancarlo Lombardi Executive Officer Supervisory Committee: Paula J. Massood Marc Dolan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Manifest Density: Decentering the Global Western Film by Michael D. Phillips Advisor: Jerry W. Carlson The Western is often seen as a uniquely American narrative form, one so deeply ingrained as to constitute a national myth. This perception persists despite its inherent shortcomings, among them its inapplicability to the many instances of filmmakers outside the United States appropriating the genre and thus undercutting this view of generic exceptionalism.
    [Show full text]
  • FILM STUDIES by Clodagh Brook, University of Birmingham, and Cosetta Veronese, University of Birmingham
    FILM STUDIES By Clodagh Brook, University of Birmingham, and Cosetta Veronese, University of Birmingham General readers of Italian film history. Rémi Fournier Lanzoni, Comedy Italian Style: The Golden Age of Italian Film Comedies, New York–London, Continuum, 276 pp., provides a panorama of commedia all’italiana within the broader context of comedy in Italy. Bert Cardullo, After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews, Newcastle, Cambridge Scholars, 198 pp., provides interviews with directors and analyses of their work, including Visconti, Fellini, Monicelli, Pasolini, Antonioni, Olmi, Amelio, and Moretti. Fabio Vighi, Sexual Difference in European Cinema: The Curse of Enjoyment, NY, Palgrave Macmillan, 258 pp., offers a radical Lacanian- Žižekian re-reading of European auteur cinema, including analysis of Rossellini, Fellini, Pasolini, and Antonioni. Adaptations and cross-media studies. V. Galbiati, ‘Tra lettera tura e cinema: Landolfi, Cavazzoni e Fellini’, Italianistica, 38.3:159–66, studies the echoes of Landolfi’s work and Cavazzoni’s novel Il poema dei lunatici in Fellini’s film La voce della luna. ParL, 60.81–83 contains an extensive section on cinema, including a reflection upon Bertolucci’s activity as a cinema critic (F. Zabagli, ‘Attilio Bertolucci “cronista di cinema”’, 80–85), and an analysis of the significance that the advent of cinema had on literary activity of the early 20th century (I. Gambacorti, ‘Lo schermo di carta. Letteratura sul cinema negli anni Dieci’, 86–98). E. Ciccotti, ‘Mario Verdone, Eugène Ionesco, Siena e il rinoceronte. Tra teatro, circo e cinema’, NA, 144.2252:187–202, analyses Verdone’s 1963 theatrical piece La gloria del Rinoceronte.
    [Show full text]
  • I Cento Passi (The Hundred Steps, 2000) Is Giordana's Biopic About Giuseppe 'Peppino' Impastato, a Leftist Anti-Mafia Activist Murdered in Sicily in 1978
    33 Marco Tullio Giordana' s The Hundred Steps: The Biopic as Political Cinema GEORGE DE STEFANO During the 1980s, the political engagement that fuelled much of Italy's postwar realist cinema nearly vanished, a casualty of both the domin­ ance of television and the decline of the political Left. The generation of great postwar auteurs - Roberto Rossellini, Vittorio De Sica, Federico Fellini, and Pier Paolo Pasolini - had disappeared. Their departure, notes Millicent Marcus, was followed by 'the waning of the ideological and generic impulses that fueled the revolutionary achievement of their successors: Rosi, Petri, Bertolucci, Bellocchio, Ferreri, the Tavianis, Wertmuller, Cavani, and Scola.' 1 The decline of political cinema was inextricable from the declining fortunes of the Left following the vio­ lent extremism of the 1970s, the so-called leaden years and, a decade later, the fall of Communism. The waning of engage cinema continued throughout the 1990s, with a few exceptions. But as the twentieth cen­ tury drew to a close, the director Marco Tullio Giordana made a film that represented a return to the tradition of political commitment. I cento passi (The Hundred Steps, 2000) is Giordana's biopic about Giuseppe 'Peppino' Impastato, a leftist anti-Mafia activist murdered in Sicily in 1978. The film was critically acclaimed, winning the best script award at the Venice Film Festival and acting awards for two of its stars. It was a box office success in Italy, with its popularity extending beyond the movie theatres. Giordana's film, screened in schools and civic as­ sociations throughout Sicily, became a consciousness-raising tool for anti-Mafia forces, as well as a memorial to a fallen leader of the anti­ Mafia struggle.
    [Show full text]
  • Berlinale 2008
    Berlinale 2008 By Ron Holloway Spring 2008 Issue of KINEMA 58th BERLINALE 2008 Box Office Bonanza Will it ever end? During his seven years as Berlinale director, Dieter Kosslick’s festival tenure is annually boosted by success at the box office. Following the close of the 58th Berlin International Film Festival (7-17 February 2008), bonanza statistics were promptly released to the press. The 58th Berlinale recorded an overall audience of 430,000, of which some 230,000 purchased tickets, thus exceeding last year’s record by more than 6,000. The number of visiting film professionals (exhibitors, sales agents, industry representatives) increased to 20,000 from 125 countries, topping last year’s total of 19,155. The number of accredited journalists rose to 4,105. The sum of public screenings also rose to 1,256, compared with 934 screenings in 2007. Only the number of films participating in this year’s official programs dipped in comparison tolast year - down from 396 to 383 - but even this adjustment apparently made some Berlinale entries all the more attractive. The buzz at the Berlinale? Of particular interest were the ”EFM Industry Debates” held in the Marriott Hotel for three days in the middle of the festival. A hundred participants registered for the panel discussions on the challenges and opportunities of ”Digital Film Distribution” in the not too distant future. Another press headliner was a calculation on the ”monetary worth” of this year’s Berlinale, reckoned at circa €17.2m, or around US$ 26m. The sum includes the input by the German government (country, state, city), estimated at € 6.2m, or approximately US$ 9.3m.
    [Show full text]
  • Hollywood Abroad: Audiences and Cultural Exchange
    Hollywood Abroad: Audiences and Cultural Exchange By Melvyn Stokes and Richard Maltby (eds.) London, British Film Institute 2004. ISBN: 1-84457-018-5 (hbk), 1-84457-051-7 (pbk). 164 pp. £16.99 (pbk), £50 (hbk) A review by Martin Barker, University of Wales, Aberystwyth This is the fourth in a line of excellent books to have come out of two conferences held in London, on Hollywood and its audiences. This fourth collection deals specifically with the reception of Hollywood films in some very different counties and cultural contexts. The quality and the verve of the essays in here (they are all, without exception, beautifully written) is testimony to the rise and the potentials of the new historical approaches to audiences (which has, I am pleased to see, sedimented into some on-going cross-cultural research projects on local film exhibition histories). I recommend this book, unreservedly. Its contributors demonstrate so well the potential for many kinds of archival research to extend our understanding of film reception. In here you will find essays on the reception of the phenomenon of Hollywood, and sometimes of specific films, in contexts as different as a mining town in Australia in the 1920s (Nancy Huggett and Kate Bowles), in and through an upmarket Japanese cinema in the aftermath of Japan's defeat in 1946 (Hiroshi Kitamura), in colonial Northern Rhodesia in the period leading up to independence (Charles Ambler), and in and around the rising nationalist movements in India in the 1920-30s (Priya Jaikumar). It is important, in understanding this book, that we pay attention to the specificities of these contexts.
    [Show full text]
  • History of Modern Italy General
    Santa Reparata International School of Art COPYRIGHT © 2010 All rights reserved Course Syllabus Course Title: History of Modern Italy Course Number: EUH 3431 1. COURSE DESCRIPTION: This course will study the history of Modern Italy from the Risorgimento and continue on through the development and decline of the liberal Italian state; Mussolini and Italian Fascism; World War II; and post World War II Italy; up through recent historical events. Introduction to major literary, cinematographic and artistic movements are covered as well as social aspects of Italian life including topics such as the Italian political system; the development of the Italian educational system; the roots and influence of the Italian Mafia; and the changing role of the woman in Italian society. 2. CONTENT INTRODUCTION: This course introduces students to the history and politics of modern Italy from the time of its political Unification to the present. The major topics covered throughout the course include the process of political unification in the mid-late 1800s; the birth and growth of Fascism in Italy (1922-1943); the Second World War (1940-45); the workings of governing institutions in the post-war period (1946-48); the role of the Church; political parties and movements; the process of massive industrialization (1950-60’s); political terrorist events (1960-80’s); as well as political corruption and political conspiracy. There will also be an in-depth analysis of the political crisis and transformation of the Italian democratic system in the early 1990s. 3. COURSE RATIONALE : The course is particularly recommended to all those students that want to gain an in-depth knowledge of the contemporary social and political history of Italy.
    [Show full text]
  • The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
    Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals.
    [Show full text]