Class Schedule Listing
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Jio Mami 18Th Mumbai Film Festival with Star Launches Marathi Talkies with the Premiere of ‘Ventilator’ Produced by Priyanka Chopra
JIO MAMI 18TH MUMBAI FILM FESTIVAL WITH STAR LAUNCHES MARATHI TALKIES WITH THE PREMIERE OF ‘VENTILATOR’ PRODUCED BY PRIYANKA CHOPRA The film festival introduces a new section Marathi Talkies that will showcase Marathi films Renowned Marathi film critic Amol Parchure will curate Marathi Talkies this year Mumbai, October 8, 2016: The Jio MAMI Mumbai Film Festival with Star, in its 18th edition celebrates Marathi cinema with the launch of its new segment, Marathi Talkies. The programme will showcase Marathi films through the day at PVR, Lower Parel on October 25, 2016. The film line up has been curated by renowned Marathi film critic, Amol Parchure. The festival will launch Marathi Talkies with a bang as it gears up for the World Premiere of Ventilator, the first film produced by National Award winning actor Priyanka Chopra. ‘Ventilator’ is written and directed by Ferrari ki Sawari director, Rajesh Mapuskar and is produced in association with Magic Pictures. The film revolves around an ailing senior member of a family who is being put on the ventilator just days before the popular Ganpati festival leading to varied degrees of speculation and panic amongst the large coastal clan he belongs to. What ensues is funny, ironical and deeply moving. The first poster of the movie was unveiled by Priyanka Chopra in September 2016. Speaking about the premiere of Ventilator, Rajesh Mapuskar said, “I am glad that MAMI has provided this new platform for Marathi cinema and they are hosting the world premiere of Ventilator. I am excited. Thank you team MAMI.” Curator of Marathi Talkies, Amol Parchure said, “In recent years, Marathi cinema has seen a boom in viewership in India, thanks to the makeover the industry underwent in 2010. -
A Feminist Representation in Pakistani Cinema: a Case Study of “Bol” the Movie
New Media and Mass Communication www.iiste.org ISSN 2224-3267 (Paper) ISSN 2224-3275 (Online) Vol.43, 2015 A Feminist Representation in Pakistani Cinema: A Case Study of “Bol” The Movie Aqsa Iram Shahzadi Assistant Professor Department of Communication Studies, Bahauddin Zakariya University Multan Abstract The Study analyses the Pakistani movie ‘Bol’ particularly from the feminist perspective. Qualitative discourse analysis is the method used by the researcher. To analyze feminist ideology five categories (realization of self, concept of patriarchy, challenging patriarchal ideologies, male chauvinism and reproductive rights) are constructed. Findings show that the movie is based on liberal feminist ideologies. The analysis also finds the fact that creation of ideologies and distribution of power is done through language. Study explores the ways through which ideologies are constructed and manipulated through media. Keywords: Liberal Feminism, Discourse Analysis, Movie, Bol, Introduction The role of the media, in the modern world cannot be underestimated and media is considered as a tool for the production and dissemination of the ideology that serves the interests of the group/class that exercises economic and political control over it. Media occupies a strategic place in the game of power relation with in a social formation. Film is very important media, which can bring change in society. This is best source of entertainment yet is also used for information, education and as well as a tool of propaganda to make opinion or to converse the world opinion. Every movie in the world is made on some ideology shown as reality (Buckland 2011). Ideology means ideas that form the basis of an economic or political theory or that are held by a particular group of people or person (Oxford Dictionary). -
East Asian Cinemas Also by Vivian P
East Asian Cinemas Also by Vivian P. Y. Lee HONG KONG CINEMA SINCE 1997: The Post-Nostalgic Imagination East Asian Cinemas Regional Flows and Global Transformations Edited by Vivian P. Y. Lee Introduction, selection and editorial matter © Vivian P. Y. Lee 2011 Individual chapters © Contributors 2011 Preface © Yingjin Zhang 2011 Softcover reprint of the hardcover 1st edition 2011 978-0-230-27767-0 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2011 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. -
Comparative Literature 210 Special Topic: World Cinema
COMPARATIVE LITERATURE 210 SPECIAL TOPIC: WORLD CINEMA UC Davis, Fall 2010 CRN: 56633 Time and location: Wednesday 4:10-7:00 pm, 203 Wellman Professor Sheldon Lu Office: Sproul Hall 808 Office phone: 754-8324 Office hours: 10-11 am, T & R; 2-3 pm, W; and by appointment Mailbox: Sproul Hall 222 Email: [email protected] Course Description This course examines "world cinema" as a concept, as a critical discourse, and above all as the practices of diverse cinematic traditions of the world. We will also tackle related categories of contemporary film studies such as "national cinema," "transnational cinema," "third cinema," and "third-world cinema." Comparative case studies will be drawn from countries and regions from around the world: Africa, Russia, Germany, China, Hong Kong, as well as the postcolonial Francophone world. As we look at some pivotal moments in world film history, we will also raise broad issues in current film studies such as globalization, diaspora, cinematic style, national identity, visual culture, and film industry. Course Requirements Each student is required to present an oral report in class (about 25 minutes), and write a research paper (minimum 12 pages) at the end of the quarter. For the in- class presentation, the student is expected to hand out useful information to fellow classmates about the subject (filmography, bibliography, brief notes about a film, a film artist, a critic, a book, a theoretical issue, etc.), and hand in a written 2-page summary to the instructor at the end of the presentation. Students should maintain steady class attendance, have the assigned materials read for each meeting, and be prepared for class discussion. -
Professionalism in Films and Job-Orientation
Role Name Affiliation Principal Investigator Prof. Sumita Parmar Allahabad University, Allahabad Paper Coordinator Prof. Sisir Basu Banaras Hindu University, Varanasi Content Writer/Author (CW) Shri Arindam Roy Professional Writer, Allahabad Content Reviewer (CR) Prof. Sisir Basu Banaras Hindu University, Varanasi Language Editor (LE) (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women, Media & Films Module Name/ Title Professionalism in films and job-orientation Module ID Course – 10, Module – 32 Pre-requisites The reader is expected to have the knowledge about the status of the professional and working women in India. They should have an idea about the problems they face in promoting their cause. Objectives To make the readers aware about the long and arduous journey of women in the film industry, their low presence as technicians, such as, directors, producers, writers, cinematographers, etc. Also, the struggle for the industry to become organized and the harsh realities of the casting couch. What is the way ahead for women in cinema. Keywords Bollywood, Hollywood, Gender, Male Gaze, Taboos, Conflict, History, Identity, Organized, Disorganized, Casting Couch, Exploitation, Parivarvaad, Star-kids, Hindi Cinema, Regional Cinema, Popular Films, World Cinema, Diaspora, Feminist Cinema, Women’s Films, Feminism, Feminist Auteurs, Post-feminism, Third Cinema, Reality, Fantasy, Media, Medium, Equal Opportunities, Filmmaking, Filmmaking Institutes 1 Professionalism in Films and Availability of Jobs for Women 1. Objectives As stated earlier in the description of the module the purpose of this unit, in general, is to make the readers aware of the various job opportunities that are available for the women professionals in the Indian film industry. -
South Asian Film & Television 16 + Guide
SOUTH ASIAN FILM & TELEVISION 16 + GUIDE www.bfi.org.uk/imagineasia This and other bfi National Library 16+ guides are available from http://www.bfi.org.uk/16+ IMAGINEASIA - SOUTH ASIAN FILM & TELEVISION Contents Page IMPORTANT NOTE ........................................................................................ 1 GENERAL INFORMATION ............................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst.................................. 4 INTRODUCTION ............................................................................................ 6 BANGLADESH............................................................................................... 7 Focus on Filmmakers: Zahir Raihan................................................................. 9 BHUTAN, NEPAL & TIBET.............................................................................. 9 PAKISTAN..................................................................................................... 10 Focus on Filmmakers: Jamil Dehlavi ................................................................ 16 SRI LANKA .................................................................................................... 17 Focus on Filmmakers: Lester James Peries ..................................................... 20 INDIA · General References............................................................................ 22 · Culture, Society and Film Theory ......................................................... 33 · Film -
A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses July 2018 A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund Eren Odabasi University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Film and Media Studies Commons Recommended Citation Odabasi, Eren, "A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund" (2018). Doctoral Dissertations. 1262. https://doi.org/10.7275/11930004.0 https://scholarworks.umass.edu/dissertations_2/1262 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund A Dissertation Presented by EREN ODABASI Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Department of Communication © Copyright by Eren Odabasi 2018 All Rights Reserved A Multi-Method Analysis of the Berlin International Film Festival and the World Cinema Fund A Dissertation Presented by EREN ODABASI Approved as to style and content by: ________________________________________________ Anne T. Ciecko, Chair ________________________________________________ Martin F. Norden, Member ________________________________________________ Jonathan R. Wynn, Member Mari Castañeda, Department Chair Department of Communication ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my advisor Anne T. -
French Blockbusters S French Blockbusters
Traditions in World Cinema General Editors: Linda Badley and R. Barton Palmer Founding Editor: Steven Jay Schneider This series introduces diverse and fascinating movements in world cinema. Each volume concentrates CHARLIE MICHAEL on a set of films from a different national, regional or, in some cases, cross-cultural cinema which constitute a particular tradition. FRENCH BLOCKBUSTERS Cultural Politics of a Transnational Cinema CHARLIE MICHAEL FRENCH BLOCKBUSTERS FRENCH BLOCKBUSTERS The digitised spectacles conjured by a word like ‘blockbuster’ may create a certain cognitive Cultural Politics of a Transnational Cinema dissonance with received ideas about French cinema – long celebrated as a model for philosophical, economic and aesthetic resistance to globalised popular culture. While the Gallic ‘cultural exception’ remains a forceful current to this day, this book shows how the onslaught CHARLIE MICHAEL of Hollywood mega-franchises and new media platforms since the 1980s has also provoked an overtly commercialised response from French producers eager to redefine the stakes and scope of their own traditions. Cutting across a swath of recent French-produced cinema, French Blockbusters offers the first book-length consideration of the theoretical implications, historical impact and cultural consequences of a recent grouping of popular films that are rapidly changing what it means to make – or to see – a ‘French’ film today. From English-language action vehicles like Valérian and the City of a Thousand Planets (Besson, 2017) to revisionist historical films like Of Gods and Men (Beauvois, 2011) and crowd-pleasing comedies like Intouchables (Tolédano & Nakache, 2011), the variously filiated ‘local blockbusters’ from contemporary France brim with the seeds of cultural contradiction, but also with the energy of a counter-history. -
Concepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies
TRAC 1 (1) pp. 7–21 Intellect Limited 2010 Transnational Cinemas Volume 1 Number 1 © 2010 Intellect Ltd Article. English language. doi: 10.1386/trac.1.1.7/1 WILL HIGBEE University of Exeter SONG HWEE LIM University of Exeter Concepts of transnational cinema: towards a critical transnationalism in film studies ABSTRACT KEYWORDS This article aims to map out the various concepts of transnational cinema that transnational cinema have appeared over the past ten to fifteen years, and its state of deployment, critical transnationalism related issues and problematics. It argues for a critical form of transnationalism in diasporic cinema film studies that might help us interpret more productively the interface between postcolonial global and local, national and transnational. It also aims to move away from a francophone cinema Eurocentric approach towards the reading of such films. It will illustrate how the Chinese cinema concept of transnational cinema has been at once useful and problematic, liberating East Asian cinemas and limiting, by focusing on two case studies – diasporic and postcolonial cinemas and Chinese and East Asian cinemas – that provide fertile ground for interrogating the concept of the transnational. 7 TRAC 1.1_art_Higbee_007-022.indd 7 1/19/10 8:19:56 AM Will Higbee | Song Hwee Lim 1. See, for example, the INTRODUCTION work of sociologist Hannerz (1996), Within the discipline of film studies, the concept of transnational cinema is anthropologist Ong certainly now an established area of enquiry, at least judging by the launch -
In Pakistan: Sabiha Sumar Wages Feminist Cinematic Jihad Through a Documentary Lens Rahat Imran
Journal of International Women's Studies Volume 9 | Issue 3 Article 8 May-2008 Deconstructing Islamization in Pakistan: Sabiha Sumar Wages Feminist Cinematic Jihad through a Documentary Lens Rahat Imran Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Imran, Rahat (2008). Deconstructing Islamization in Pakistan: Sabiha Sumar Wages Feminist Cinematic Jihad through a Documentary Lens. Journal of International Women's Studies, 9(3), 117-154. Available at: http://vc.bridgew.edu/jiws/vol9/iss3/8 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2008 Journal of International Women’s Studies. Deconstructing Islamization in Pakistan: Sabiha Sumar Wages Feminist CinematicJihad through a Documentary Lens By Rahat Imran1 Abstract Over half a billion Muslim women live in vastly different lands, cultures, societies, economies, and political systems. Yet, as Iranian scholar Mahnaz Afkhami2 points out, Muslim women’s oppressions are similar due to gender-discrimination under Islamic Sharia laws and patriarchal doctrines that are exercised in the name of religion and culture. Pakistan has been a prime example of how -
Shifting Identities and Changing Images in Tamil Cinema
International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 7 Issue 10 Ver.I ||October 2018 || PP 44-47 Shifting Identities and Changing Images in Tamil Cinema Amutha Manavalan Asst. Prof. Department of Media Studies, Christ University Dr. Shailashree B Associate Professor, Dept. of Mass Communication, Bangalore University ABSTRACT: Tamil popular cinema has been a reflection of political, cultural and ethnic ideologies creating a Tamil identity among the fans for many decades. It has been instrumental in creating images of genders through visual culture and visual representations which has led to stereotyping the identity, culture and appearances of the Tamil populace. For decades the identity of the man has been portrayed as the torchbearer of Tamil identity while the woman has been more of a passive submissive subject providing a constant support to the male dominant character or protagonist. The article focuses on the shifting identities portrayed through cinema and how it has left a void in Tamil society and culture at a time of ethnic crisis. The paper would be discussing stereotyping portrayals and its effects on perception leading to the above mentioned factors of identity, crisis and stereotyping. KEY WORDS: Tamil popular cinema, visual representation, culture, identity --------------------------------------------------------------------------------------------------------------------------------------- Date of Submission: 29-09-2018 Date of acceptance:09-10-2018 --------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Films have played a very important role in India, and even today remain the most popular form of entertainment and recreation. They have also played a crucial part from time to time in promoting educational and reformative values. -
Bringing World Cinema Into the History Curriculum
BRINGING WORLD CINEMA INTO THE HISTORY CURRICULUM Ronald Briley Sandia Preparatory School, Albuquerque, NM Imagine a flyer promoting a history elective prominently featuring the image of a black-robed Death figure with the following caption: "If you would like to screen a two-hour black and white film in Swedish with English subtitles in which a knight plays chess with death while discussing the meaning oflife and such philosophical questions as the existence of God, then this is the class for you." It was with some trepidation that I tried this novel approach for recruitment into a new history elective five years ago. And it worked, perhaps offering a certain snob appeal for some students. But I prefer to believe that "Introduction to World Cinema" addressed student intellectual curiosity regarding film and filmmaking as well as learning more about other cultures in our ever-shrinking world. Over twenty-five years ago, I encountered resistance to a proposed class in which Hollywood feature films would be employed as primary sources through which to investigate the formation of American values and ideology in the post-World War II period. In other words, these films would be examined to ascertain how they reflected the time periods in which they were made.1 Thus, I would not use High Noon (1952) to examine the American West. Instead, High Noon offers insight into such essential issues and concerns of the 1950s as the Cold War, communism and anticommunism, the Hollywood Ten, conformity, and suburbia. In a similar fashion, Bonnie and Clyde (1967) tells us more about the 1960s than the Depression era in which the film was set.