MICHAEL JAMES DEAR Curriculum Vitae May 2018 Present
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Geohumanities
This article was downloaded by: [67.169.96.244] On: 28 August 2015, At: 12:16 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London, SW1P 1WG GeoHumanities Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rgeo20 Practicing Geohumanities Michael Deara a University of California, Berkeley Published online: 26 Aug 2015. Click for updates To cite this article: Michael Dear (2015): Practicing Geohumanities, GeoHumanities, DOI: 10.1080/2373566X.2015.1068129 To link to this article: http://dx.doi.org/10.1080/2373566X.2015.1068129 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Issue | 01 Hydrogen International Journal of Transmedia Literacy
International Journal of Transmedia Literacy From Storytelling to Intercreativity in the Era of Distributed Authorship Edited by Matteo Ciastellardi Giovanna Di Rosario Contributes: Amorós, L. Arana, E. Bazzarin, B. Bonacho, F. Ciancia, M. De Kerckhove, D. Jenkins, H. Kinder, M. Koskimaa, R. Landow, G. P. López-Varela, A. Manovich, L. Mimenza, L. Narbaiza, B. Pedranti, G. Roig Telo, A. San Cornelio, G. Tavares, S. Tosca, S. December 2015 Issue | 01 Hydrogen INTERNATIONAL JOURNAL OF TRANSMEDIA LITERACY Editor in chief MATTEO CIASTELLARDI Managing Editor Giovanna Di Rosario Board Commitee Alan Albarran Rogério Barbosa Da Silva Giovanni Baule Laura Borràs Castanyer Derrick de Kerckhove Henry Jenkins Marsha Kinder Raine Koskimaa George Landow Paul Levinson Asún López-Varela Lev Manovich Nick Montfort Marcos Novak Massimo Parodi Bruce W. Powe Kate Pullinger Marie-Laure Ryan Alexandra Saemmer Carlos Scolari Susana Tosca Alessandro Zinna SUBSCRIPTIONS One year € 42,00 – One issue € 30,00 + expedition fees LED Edizioni Universitarie - Via Cervignano, 4 - 20137 Milano Tel. +39 02 59902055 Fax +39 02 55193636 e-mail: [email protected] Bank transfer Banca Popolare Commercio Industria IBAN IT27 V050 4801 6570 0000 0000 998 Swift BLOPIT22 Send by fax the payment receipt Credit card (Visa - Mastercard - American Express) Send by e-mail or by fax the credit card number and expiration date Cover Image: Screenshot from the transmedia story ‘Inanimate Alice’ A BradField Company Production: http://inanimatealice.com © 2015 Via Cervignano 4 - Milano - www.lededizioni.com - [email protected] International Journal of Transmedia Literacy – 1.1 - December 2015 http://www.ledonline.it/transmedialiteracy/ 1 From Storytelling to Intercreativity in the Era of Distributed Authorship 1.1 Hydrogen December 2015 Edited by Matteo Ciastellardi and Giovanna Di Rosario Foreword: Transmediature 5 Derrick De Kerckhove Transmedia Literacy. -
1 Modular Narratives in Contemporary Cinema
Notes 1 Modular Narratives in Contemporary Cinema 1. Evan Smith also notes the success during the late 1990s of films featuring complex narrative structures, in terms of ‘impressive reviews, Oscar wins, and dollar-for-dollar returns’ (1999, 94). 2. Lev Manovich argues that narrative and database are two distinct and com- peting cultural forms: ‘the database represents the world as a list of items, and it refuses to order this list. In contrast, a narrative creates a cause-and-effect trajectory of seemingly unordered items (events)’ (2001b, 225). As I discuss in Chapter 2, Manovich’s argument must be qualified by an understanding of narrative’s ability to make use of the database for its own ends. 3. Manuel Castells, for example, argues that the dominant temporality of today’s ‘network society’, produced through technologization, globalization and instantaneous communication, is ‘timeless time’ (2000, 494): ‘Time is erased in the new communication system when past, present, and future can be programmed to interact with each other in the same message’ (406). 4. Ricoeur’s analysis centres upon Mann’s The Magic Mountain (1924), Woolf’s Mrs. Dalloway (1925) and Proust’s In Search of Lost Time (1913–27). 5. Syuzhet patterning, argues Bordwell, is medium-independent; the same pat- tern could be reproduced, for example, across literature, theatre and cinema (1985, 49). 6. In his treatment of order, duration and frequency, Bordwell is drawing upon the work of narratologist Gérard Genette. Like Bordwell, Genette distin- guishes between the narrative content (‘story’) and the way this content is organized and expressed (‘discourse’) (1980, 27). -
The Decay of Fiction, Senses of Cinema, No
Deakin Research Online Deakin University’s institutional research repository DDeakin Research Online Research Online This is the published version (version of record) of: De Bruyn, Dirk 2004-04, The decay of fiction, Senses of cinema, no. 31, pp. 1-5. Available from Deakin Research Online: http://hdl.handle.net/10536/DRO/DU:30013067 Reproduced with kind permission of the copyright owner. Copyright : © Dirk de Bruyn, March 2004 The Decay of Fiction contents great directors cteq annotations top tens about us links archive search The Decay of Fiction The Decay of Fiction by Dirk de Bruyn Dirk de Bruyn has been involved with personal filmmaking as a practitioner, curator and writer in Melbourne and overseas for nearly 30 years. The Decay of Fiction (2002 USA 73 mins) Source: Pat O'Neill Prod Co: Lookout Mountain Films Prod: Rebecca Hartzell, Pat O'Neill Dir, Scr, Ed: Pat O'Neill Phot: George Lockwood Sound: Cole Rushing Cast: Wendi Winburn, William Lewis, Lauren Maher, Lilia Barsegian, Kane Crawford, Lisa Moncure, Tamara Margarian Honey I'm home! – Jack Nicholson in Stanley Kubrick's The Shining (1980) Pat O'Neill's The Decay of Fiction screened at the 2003 Rotterdam International Film Festival. This is a festival that is often a showcase for innovative and non-linear moving image works, hard to catch elsewhere. It is commendable that the Melbourne Cinémathèque can bring such work to an Australian audience. Two-Faced O'Neill's experimental film practice is grounded in a photographic and conceptual methodology. It is a practice that has somehow managed to nourish itself inside a tradition apparently alien to it: the mother of all media beasts, Hollywood itself. -
Practicing Geohumanities
Practicing Geohumanities Michael Dear University of California, Berkeley The age-old confrontation between two cultures—humanities and science—obscures the fact that their traditions are fundamentally similar in several respects. A primary source of the continuing fracture between the two cultures might simply be practitioners’ preference for exclusionary onto- logical or epistemological worldviews, expressed most directly through the differing discipline-based standards of evidence that practitioners deploy or are willing to accept. In this article, I consider the nature of practice in the nascent geohumanities by uncovering the tracks of recent convergences in geography and the humanities, and by reflecting on case studies from my own recent work. Three aspects of transdisciplinary scholarly dialogue are highlighted: the standards of practice, the quality of work produced, and the ensuing pedagogy. I suggest ways of replacing the opacities of intellectual difference with the transparencies of recognition; how the outcomes of transdisciplinary practice might be judged; and practices in the transdisciplinary classroom. Key Words: digital humanities, geohumanities, GIS, keywords, pedagogy, place, transdisciplinarity, urban. Some years ago, at the University of California (UC) Berkeley’s Townsend Center for the Humanities, I listened as a very eminent colleague expounded on the subtleties of Dante’s Divine Comedy. She responded respectfully and gracefully to comments and critiques from diverse disciplinary perspectives, promising to incorporate them into her interpretive schema. But I became confused as the architecture of her original exposition garnered modifications, amounting sometimes to a small repair, later to a roomy addition, and even verging on complete renovation. The structure of her argument sagged under the weight imposed by these alternative Downloaded by [67.169.96.244] at 12:16 28 August 2015 framings and interpretations, finally collapsing (or so it seemed to me) into an undifferentiated bricolage of accumulated evidences. -
SCMS 2005 INT FP.Indd
Society for Cinema and Media Studies Conference Program Founded in 1959, the Society is composed of college and university educators, filmmakers, historians, critics, scholars, and others concerned with the study of the moving image. Activities of the Society include an annual meeting and the publication of Cinema Journal. Officers E. Ann Kaplan Stony Brook University—President Lucy Fischer University of Pittsburgh—Past President Stephen Prince Virginia Tech—President-Elect Susan Ohmer University of Notre Dame—Secretary Patrice Petro University of Wisconsin, Milwaukee—Treasurer Executive Council Wheeler Winston Dixon University of Nebraska-Lincoln Krin Gabbard Stony Brook University Barry Keith Grant Brock University Paula J. Massood Brooklyn College/CUNY Jamie Poster University of Wisconsin, Milwaukee, Graduate Student Representative Patricia White Swarthmore College Susan White University of Arizona Lori Landay Berklee College of Music, ex officio, Information Technologies Officer Jon Lewis Oregon State University, ex officio, Editor, Cinema Journal Conference Organization Program Committee Stephen Prince Virginia Tech, chair Raphaelle Moine Université Paris-Nanterre Wheeler Winston Dixon University of Nebraska-Lincoln Diane Negra University of East Anglia Erik Hedling Lund University Susannah Radstone University of East London Annette Kuhn Lancaster University Patricia White Swarthmore College Paula J. Massood Brooklyn College/CUNY Susan White University of Arizona Toby Miller New York University Screening -
Annual Report
The Rockefeller Foundation 2003 Annual Report The Rockefeller Expanding Opportunity 420 Fifth Avenue New York, NewYork The Rockefeller 2003 10018-2702 U.S.A. Foundation Annual Report www.rockfound.org TM 2003 Table of Contents President’s Letter 2003 Grants Financial Reports 2 46 84 Mission Program Goals Treasurer’s Letter 4 48 86 Contacting the Foundation Report of About Grants Creativity & Culture Independent Auditors 5 52 89 Statements of Essay Food Security Financial Position 6 56 90 Statements of Health Equity Activities 61 91 Statements of Working Communities Cash Flows 64 92 Notes to Global Inclusion Financial Statements 70 93 420 Fifth Avenue New York, New York Regional Programs Trustees and Staff 10018-2702 U.S.A. 72 98 www.rockfound.org Special Programs 76 TM Creativity & The Rockefeller 2003 Foundation Annual Report Working Global President’s Letter ast November I stood on a platform with Mayor Residents of any community need certain essential Thomas Menino of Boston for one of those moments goods and services: access to employment, to quality that reveals what government, philanthropy, busi- health care and to education. They also want affordable nesses and local communities can achieve when housing, transport and child care. All need opportunities Lthey work creatively together. We were there to launch the for creative expression, for spiritual refreshment and for Boston Workforce Development Initiative, a $14 million connection with the wider society. In developing countries partnership aimed at helping people move into jobs more the needs are even more basic—affordable vaccines and quickly, and move up the ladder once they are employed. -
Cinémas Du Futur
CINÉMAS DU FUTUR CINÉMAS DU FUTUR CINÉMAS DU FUTUR — Du 6 décembre 2003 au 22 février 2004 CINEMAS OF THE FUTURE — December 6, 2003 – February 22, 2004 SOUFFLEURS D’IMAGE SOUFFLEURS D’IMAGE / IMAGE-BLOWERS 6 décembre 2003 : Lille est désormais Capitale Européenne de la Culture. Ce projet, nous December 6, 2003: Lille is now the Cultural Capital of Europe. This project could not have been Le cinéma est appelé à évoluer dans la prochaine décennie: parallèlement à son Cinema has been called upon to develop in the next decade. Parallel to its frenzied l’avons préparé avec nos partenaires : institutions et collectivités, acteurs culturels et realised without the generous help we received from our many partners: from institutions and industrialisation forcenée déjà en marche à travers les produits dérivés et jeux associés dont industrialisation – already underway by means of various by-products and assorted games, artistes, entreprises mais aussi avec tous les habitants de nos villes. Cette année, nous collectives, from artists and others working in the cultural sector, from private businesses, but le film ne fait plus office que d’alibi, une alternative plus féconde se profile à l’horizon par for which film really only acts as an alibi – a more fruitful alternative is emerging that l’avons voulue à l’image de notre histoire et de nos ambitions solidaires et généreuses. Le also from our cities’ residents. This year, we really wanted the project to reflect our history and une refonte totale de la relation film – spectateur, dans laquelle un fort engagement physique involves a total re-working of the film-spectator relation. -
CV Joassart-Marcelli Jan 2019
Curriculum Vitae Pascale Joassart-Marcelli Department of Geography San Diego State University 5500 Campanile Drive San Diego, CA 92182 Email: [email protected] Phone: (619) 594-0906 Current Position Professor (September 2015 – current), Department of Geography, San Diego State University, San Diego, CA Director and Undergraduate Adviser (September 2016 – current), Urban Studies Program, College of Arts and Letters, San Diego State University, San Diego, CA Affiliated Faculty (2010-present) Center for Interdisciplinary Studies of Young People, Environments, Society, and Space (YESS), College of Arts and Letters, San Diego State University, San Diego, CA Education Post-Doctorate (1999-2002), funded by the National Science Foundation, Geography and Regional Science Division, Department of Geography, University of Southern California, Los Angeles, California Ph.D. (August 1999), Political Economy & Public Policy, University of Southern California, Los Angeles, California M.A. (Maîtrise), (1992), Economics, Facultés Universitaires Notre-Dame de la Paix (FUNDP), Namur, Belgium B.A. (Licence), (1991), Economics, FUNDP, Namur, Belgium Previous Positions Associate Professor, San Diego State University, Geography, 2009-2015 Co-Director and Undergraduate Adviser, Urban Studies Program, San Diego State University, 2010-2016 Assistant Professor, San Diego State University, Geography, 2007-2009 Visiting Scholar, Harvard University, Joint Center for Housing Studies, 2003-2004 Assistant Professor, University of Massachusetts, Boston, Economics, Policy -
Laura Pulido
104 ALDER BUILDING LAURA PULIDO EUGENE, OR DEPARTMENTS OF INDIGENOUS, RACE & ETHNIC 97403-5268 STUDIES & GEOGRAPHY, UNIVERSITY OF OREGON (541) 346-0918 [email protected] www.laurapulido.org Professional Experience University of Oregon, Collins Chair 2020 Simon Fraser University, Adjunct Professor, Geography Department 2020 University of Oregon, Dept. Head, Indigenous, Race & Ethnic Studies 2017-present University of Oregon, Professor, Affiliate Faculty, Environmental Studies 2017- present University of Oregon, Professor, Ethnic Studies and Geography 2016-present University of Southern California (USC), Professor, American Studies & Ethnicity 2008-2016 University of California, Santa Barbara, Visiting Professor, Department of Black Studies 2012 USC, Professor, Geography and American Studies & Ethnicity 2007-2010 USC, Affiliate Faculty, Sociology 2006-2009 USC, Associate Professor, Geography and Program in American Studies & Ethnicity 2001-2007 USC, Associate Professor, Geography 1998-2001 USC, Assistant Professor, Geography 1993-1997 California State University, Fullerton, Assistant Professor, Geography 1992-1993 Education University of California, Los Angeles, Ph.D, Urban Planning 1991 University of Wisconsin, Madison, M.S., Geography 1987 California State University, Fresno, B.A., Geography 1984 Scholarly Interests Critical human geography, comparative & relational ethnic studies, environmental justice, cultural memory, political activism, Chicanx Studies, landscape, labor, radical tourism Honors, Awards & Fellowships Faculty Excellence -
1 Hanhardt, John G. “A Conversation with Pat O'neill.”
Hanhardt, John G. “A Conversation with Pat O’Neill.” Pat OʼNeill: Views From the Lookout Mountain. Ed. Stephanie Emerson. Germany: Steidl, 2004. 193 - 211 In early December 2003, I spent two days in conversation with Pat O’Neill at his new home in Pasadena, California, which he shares with his wife Beverly. Pat and Beverly are key figures in the Southern California art world. For over forty years, Pat has been a leading independent filmmaker and has contributed to the film culture of Los Angeles, both as an artist and as an organizer of experimental film screenings. With a group of artists and filmmakers, Pat and Beverly founded the Los Angeles film cooperative Oasis in 1976, fostering local support for and knowledge of alternative films. For many years Beverly also served as Provost at the California Institute of the Arts (CalArts), an institution with a major film school and animation program. I have always been fascinated by Southern California, and Pat’s films embody its many contradictions. Although I included Water and Power in the 1991 Whitney Museum of American Art Biennial and had followed Pat’s filmmaking for many years, I did not know him like I did other Southern California film and video artists, such as Morgan Fisher and Bill Viola. So I welcomed the opportunity to interview Pat for the catalogue of this timely and important exhibition. In preparation for our meeting, I immersed myself in Pat’s films, seeing many of them again, and I spent time looking at his digital photographs and reading through the notebooks he provided me.