Introduction: on the Normalcy of Antigypsyism in Film
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Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
Not a Cinematic Hair out of Place: Examinations in Identity (Transformation) As Evidenced Through Haircuts in the Rc Ying Game Allen Herring III
University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 2-8-2011 Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The rC ying Game Allen Herring III Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Herring, Allen III. "Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The rC ying Game." (2011). https://digitalrepository.unm.edu/fll_etds/109 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. ii Not a Cinematic Hair Out of Place Examinations of Identity (Transformation) as Evidenced through Haircuts in The Crying Game BY Allen Herring III Bachelors – English Bachelors – Economics THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Comparative Literature & Cultural Studies The University of New Mexico Albuquerque, New Mexico December 2010 iii ©2010, Allen Herring III iv Not a Cinematic Hair Out of Place Examinations of Identity (Transformation) as Evidenced through Haircuts in The Crying Game BY Allen Herring III ABSTRACT OF THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
FS345 REPRESENTATIONS of IDENTITY, NATION and VALUES in BRITISH CINEMA IES Abroad London
FS345 REPRESENTATIONS OF IDENTITY, NATION AND VALUES IN BRITISH CINEMA IES Abroad London DESCRIPTION: This course examines the role of British cinema in providing a window into the changing nature of British identity and society since World War Two. Through the study of key films across the past sixty years it charts the progress of political, social, and cultural change in Britain as represented in British film. Students examine the changing economic fortunes of British cinema and its effect on the development of British film style during each period. A strong emphasis is placed on studying the contexts in which the films were originally circulated and read. The course provides opportunities to engage with film events in London, e.g., London Film Festival in the Fall Semester, and the BAFTA Film Awards in the Spring. Additionally, the course provides opportunities to know of the work of the British Film Institute archive and the course provides opportunities to utilize the resources of the British Film Institute archive and library, as well as steering students towards researching the locations, the stars, and directors of the London- based film. CREDITS: 3 credits CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: None ADDITIONAL COSTS: None METHOD OF PRESENTATION: • Lectures • Presentations of readings • Selected excerpts of film clips REQUIRED WORK AND FORM OF ASSESSMENT: • Participation in course discussion and presentation on a single film - 20% • Mid-term essay paper (approximately 1,500 words) - 30% • Group research project - 15% • End of semester essay paper (approximately 2,000 words) - 35% LEARNING OUTCOMES: By the end of the course students will be able to: • Analyze film in detail using a formal method • Understand the material, historical, ideological and economic elements of British life interface with the way that British film represents British identity • Learn about the influence of Hollywood on production, distribution and reception of feature film in the UK ATTENDANCE POLICY: Regular class attendance is mandatory. -
The Picture of Abjection: Film, Fetish, and the Nature of Difference
The Picture of Abjection: Film, Fetish, and the Nature of Difference By Tina Chanter Bloomington: Indiana University Press, 2008. ISBN: 9780253219183. 15 illustrations, 377 pp. £19.99 (pbk) A review by Adrienne Angelo, Angelo, University of West Georgia, USA How do scholars and others with an interest in film studies and psychoanalysis engage with existing theoretical discourses on race, gender, culture and sexual difference in order to bypass the often polemicized and contested paradigm of fetishism and voyeurism, two critical modes that have dominated and continue to dominate film theory? It is this problematic that Tina Chanter explores in The Picture of Abjection: Film, Fetish and the Nature of Difference. For Chanter, drawing largely upon Kristeva's theoretical considerations of abjection, a point of entry to this endeavor lies precisely in further developing the implications of abjection as a "staging of a defensive dynamic that has the potential to significantly rework the imaginary commitments of Oedipal theory, specifically its privileging of masculinity and femininity" (17). Chanter's primary goal appears to be to develop a new critical model at the very center of which lies that which is otherwise neglected, excluded and expelled from dominant cultural discourse for being "too much", too "other". However, for as much as Chanter promotes a consideration of film and film theory, there is less an in-depth reading of films per se than a highly informed reconsideration of theoretical notions of subjectivity and the subject, one read through the lens of abjection and its destabilizing and thus subversive potential for considering marginalized identities and their representation in film theory. -
Whose Crying Game? One Woman of Color's Reflection on Representations of Men of Color in Contemporary Film
Whose Crying Game? One Woman of Color's Reflection on Representations of Men of Color in Contemporary Film Marian M. Sciachitano Washington State University This film review of Th e Crying Game critically interrogates the politics of representation and domination which "spectacle ize" Black male bodies. Working out of her location as an Asian American woman who is sensitive to the cinematic and every day politics of exoticization, this cultural critic provides an analysis of the dynamic relations of power at work in the racial and heterosexual production and exploitation of Black gays in contemporary film. Drawing on the work of such critics as bell hooks, Robert Reid- Pharr, Kobena Mercer, and Judith Butler,she challenges us not to simply perpetuate the imperial gaze. In the spring of 1993, a small independent I rish film began receiving rave reviews in the U.S. and around the world. This film eventually garnered six Academy Award nominations for Best Picture, Best Actor, and Best Supporting Actor, to name but a few. The Crying Game, directed by Irishman Neil Jordan, focuses on a small band of Irish Republican Army terrorists (IRA), or counter-terrorists, depending upon your point of view, who are a part of an armed struggle that has been ongoing in Northern Ireland for nearly a quarter of a century. Most of the entertainment media industry-Siskel & Ebert, Charlie Rose, Entertain ment Tonight, and even the ABC and CBS news programs-have given The Crying Game a "thumbs up." Contrary to popular as well as academic opinion, these reviews have not concentrated on how this film Explorations in Ethnic Studies Vol. -
Simon Boswell
SIMON BOSWELL SELECTED CREDITS ASHER (2018) JOHNNY FRANK GARRETT’S LAST WORD (2016) FLYTAP (2015) LORD OF ILLUSIONS(1995) HACKERS (1995) SHALLOW GRAVE (1994) BIOGRAPHY 'If you’re a movie fan you’ll certainly know his music: Simon Boswell is one of the UK’s finest living soundtrack composers.' TIME OUT Magazine. Simon has scored films by some of independent cinema’s incredible mavericks such as Danny Boyle’s ‘Shallow Grave’, Alejandro Jodorowsky’s ‘Santa Sangre’, Dario Argento’s ‘Phenomena’, Michael Hoffman’s ‘A Midsummer Night’s Dream’, Alex de la Iglesias’s ‘Perdita Durango’ and Richard Stanley’s ‘Hardware’ and ‘Dust Devil’. Most recently, Simon composed the original score for ‘Asher’ directed by Michael Caton-Jones, starring Ron Perlman. Along the way Simon has garnered many international awards and nominations, including 2 BAFTAs and a Classical Brit Award. After spending several young years in bands such as Advertising and Live Wire, Simon became a highly successful record producer and remixer. In 1982, his production of Italian superstar, Renato Zero, became one of the biggest selling Italian albums of all time, shifting a staggering 6 million copies. Later on his work with 23 Skidoo on 'Coup' evolved into the Chemical Brothers’ 'Block Rockin Beats'. He has also produced, amongst many others, Elton John, Dolly Parton, Marianne Faithful, Andrea Bocelli and Orbital. As a composer he is well known for combining electronic elements with orchestral instruments and his music has ranged vastly in style and tone since the mid 1980s. His work for horror and fantasy cinema is key, especially the Italian giallo films, and flicks like Clive Barker’s detective horror ‘Lord of Illusions’. -
Build a Be4er Neplix, Win a Million Dollars?
Build a Be)er Ne,lix, Win a Million Dollars? Lester Mackey 2012 USA Science and Engineering FesDval Nelix • Rents & streams movies and TV shows • 100,000 movie Dtles • 26 million customers Recommends “Movies You’ll ♥” Recommending Movies You’ll ♥ Hated it! Loved it! Recommending Movies You’ll ♥ Recommending Movies You’ll ♥ How This Works Top Secret Now I’m Cinematch Computer Program I don’t unhappy! like this movie. Your Predicted Rang: Back at Ne,lix How can we Let’s have a improve contest! Cinematch? What should the prize be? How about $1 million? The Ne,lix Prize October 2, 2006 • Contest open to the world • 100 million movie rangs released to public • Goal: Create computer program to predict rangs • $1 Million Grand Prize for beang Cinematch accuracy by 10% • $50,000 Progress Prize for the team with the best predicDons each year 5,100 teams from 186 countries entered Dinosaur Planet David Weiss David Lin Lester Mackey Team Dinosaur Planet The Rangs • Training Set – What computer programs use to learn customer preferences – Each entry: July 5, 1999 – 100,500,000 rangs in total – 480,000 customers and 18,000 movies The Rangs: A Closer Look Highest Rated Movies The Shawshank RedempDon Lord of the Rings: The Return of the King Raiders of the Lost Ark Lord of the Rings: The Two Towers Finding Nemo The Green Mile Most Divisive Movies Fahrenheit 9/11 Napoleon Dynamite Pearl Harbor Miss Congeniality Lost in Translaon The Royal Tenenbaums How the Contest Worked • Quiz Set & Test Set – Used to evaluate accuracy of computer programs – Each entry: Rang Sept. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 TWILIGHT AND SHADOWS: THE LESBIAN PRESENCE IN HLM NOIR DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Terry L. -
Contemporary European Cinema
Contemporary European Cinema 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ CONTEMPORARY EUROPEAN CINEMA Contents Page IMPORTANT NOTE............................................................................................... 1 GENERAL INFORMATION.................................................................................... 2 APPROACHES TO RESEARCH, by Samantha Bakhurst .................................... 4 INTRODUCTION ................................................................................................... 6 NATIONAL CINEMAS • Books............................................................................................................... 8 • Journal Articles ................................................................................................ 17 THE INDUSTRY • Books............................................................................................................... 21 • Journal Articles ................................................................................................ 24 BOX OFFICE • Journal articles ................................................................................................ 28 FESTIVALS • Journal articles ................................................................................................ 31 TABLE ................................................................................................................... 35 WEB SITES .......................................................................................................... -
Michael Valdez Moses Professor of Literature and the Humanities Smith
Michael Valdez Moses Professor of Literature and the Humanities Smith Institute for Political Economy & Philosophy Argyros School of Business & Economics Chapman University One University Drive Orange, CA 92866 Ph: (714) 516-4561 (919) 724-9468 Beckett Building 131 [email protected] Associate Emeritus Professor Duke University [email protected] Academic Positions 2019- Professor of Literature and the Humanities, Smith Institute for Political Economy and Philosophy and Argyros School of Business & Economics, Chapman University Associate Emeritus Professor, Duke University 1994-2019 Associate Professor of English & Affiliated Member of the Faculty in the Program in Literature, Duke University 1988-94 Andrew W. Mellon Assistant Professor of English, Duke University 1987 Assistant Professor of English, Duke University 1986-87. Instructor, Department of English, University of Virginia Visiting Appointments 2018-19 Visiting Professor of Literature and the Humanities, Smith Institute for Political Economy and Philosophy & Argyros School of Business and Economics, Chapman University, Orange, CA 2010 Maclean Distinguished Visiting Professor, Colorado College, CO 2000-01. Duke Endowment Fellow, National Humanities Center, NC 1994 Visiting Fellow, Humanities Research Centre, Australian National University USIA Visiting Professor, Universitat Autónoma de Barcelona 1992 Research Associate, University of Virginia 1990 USIA Visiting Professor, Université Cadi Ayyad, Marrakech, Morocco Visiting Scholar, English Studies Research Centre, University of -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE