Film Studies (FILM)
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Cinephilia Or the Uses of Disenchantment 2005
Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life. -
Oktoberfest’ Comes Across the Pond
Friday, October 5, 2012 | he Torch [culture] 13 ‘Oktoberfest’ comes across the pond Kaesespaetzle and Brezeln as they Traditional German listened to traditional German celebration attended music. A presentation with a slideshow was also given presenting by international, facts about German history and culture. American students One of the facts mentioned in the presentation was that Germans Thomas Dixon who are learning English read Torch Staff Writer Shakespeare because Shakespearian English is very close to German. On Friday, Sept. 28, Valparaiso Sophomore David Rojas Martinez University students enjoyed expressed incredulity at this an American edition of a famous particular fact, adding that this was German festival when the Valparaiso something he hadn’t known before. International Student Association “I learned new things I didn’t and the German know about Club put on German and Oktoberfest. I thought it was English,” Rojas he event great. Good food, Martinez said. was based on the good people, great “And I enjoyed annual German German culture. the food – the c e l e b r a t i o n food was great.” O k t o b e r f e s t , Other facts Ian Roseen Matthew Libersky / The Torch the largest beer about Germany Students from the VU German Club present a slideshow at Friday’s Oktoberfest celebration in the Gandhi-King Center. festival in the Senior mentioned in world. he largest the presentation event, which takes place in included the existence of the Munich, Germany, coincided with Weisswurstaequator, a line dividing to get into the German culture. We c u ltu re .” to have that mix and actual cultural VU’s own festival and will Germany into separate linguistic try to do things that have to do with Finegan also expressed exchange,” Finegan said. -
The West Wing Weekly Episode 1:05: “The Crackpots and These Women
The West Wing Weekly Episode 1:05: “The Crackpots and These Women” Guest: Eli Attie [West Wing Episode 1.05 excerpt] TOBY: It’s “throw open our office doors to people who want to discuss things that we could care less about” day. [end excerpt] [Intro Music] JOSH: Hi, you’re listening to The West Wing Weekly. My name is Joshua Malina. HRISHI: And I’m Hrishikesh Hirway. JOSH: We are here to discuss season one, episode five, “The Crackpots and These Women”. It originally aired on October 20th, 1999. This episode was written by Aaron Sorkin; it was directed by Anthony Drazan, who among other things directed the 1998 film version of David Rabe’s Hurlyburly, the play on which it was based having been mentioned in episode one of our podcast. We’re coming full circle. HRISHI: Our guest today is writer and producer Eli Attie. Eli joined the staff of The West Wing in its third season, but before his gig in fictional D.C. he worked as a political operative in the real White House, serving as a special assistant to President Bill Clinton, and then as Vice President Al Gore’s chief speechwriter. He’s also written for Studio 60 on the Sunset Strip, House, and Rosewood. Eli, welcome to The West Wing Weekly. ELI: It’s a great pleasure to be here. JOSH: I’m a little bit under the weather, but Lady Podcast is a cruel mistress, and she waits for no man’s cold, so if I sound congested, it’s because I’m congested. -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM 252 - History of Documentary Film (4 Hours) FILM STUDIES (FILM) This course critically explores the major aesthetic and intellectual movements and filmmakers in the non-fiction, documentary tradition. FILM 210 - Introduction to Film (4 Hours) The non-fiction classification is indeed a wide one—encompassing An introduction to the study of film that teaches the critical tools educational, experimental formalist filmmaking and the rhetorical necessary for the analysis and interpretation of the medium. Students documentary—but also a rich and unique one, pre-dating the commercial will learn to analyze cinematography, mise-en-scene, editing, sound, and narrative cinema by nearly a decade. In 1894 the Lumiere brothers narration while being exposed to the various perspectives of film criticism in France empowered their camera with a mission to observe and and theory. Through frequent sequence analyses from sample films and record reality, further developed by Robert Flaherty in the US and Dziga the application of different critical approaches, students will learn to Vertov in the USSR in the 1920s. Grounded in a tradition of realism as approach the film medium as an art. opposed to fantasy, the documentary film is endowed with the ability to FILM 215 - Australian Film (4 Hours) challenge and illuminate social issues while capturing real people, places A close study of Australian “New Wave” Cinema, considering a wide range and events. Screenings, lectures, assigned readings; paper required. of post-1970 feature films as cultural artifacts. Among the directors Recommendations: FILM 210, FILM 243, or FILM 253. studied are Bruce Beresford, Peter Weir, Simon Wincer, Gillian Armstrong, FILM 253 - History of American Independent Film (4 Hours) and Jane Campion. -
The Film Auteur: Vision and Style
Module Title The Film Auteur: Vision and Style Programme(s)/Course BA Film Studies Level 4 Semester 1 Ref No: NEW Credit Value 20 CAT Points Student Study hours Contact hours: 48 Student managed learning hours: 152 Pre-requisite learning N/A Co-requisites N/A Excluded N/A combinations Module Coordinator TBC Parent Department Division of Film and Media, School of Arts and Creative Industries Parent Course BA Film Studies JACS Code W600 Description This module will examine the wide-ranging debates related to the film auteur through historical enquiry, theoretical investigation and comparative case studies. Students will explore the fraught relationship between film theory and the concept of the auteur, where the arguments against the film director-as-artist are set against the many instances of extraordinary ‘personal’ style and innovation in the cinematic medium. After exposure to the critical debates, students will analyse a series of case-studies to better understand the auteur in the context of the ‘classical’, the ‘postmodern’ and the ‘world cinema’ auteur. Finally, the module will also update the discussion by considering the impact of digital media on the idea of the film auteur. Aims The aims of this module are to To critically explore the concept of the auteur in terms of its historical origins and its contribution to film theory To relate authorship to the influence of the director working within diverse industrial, cultural and national contexts To apply different authorial approaches to the works of specific directors, such -
The Television Project: Some of My Best Friends
The Television Project: Some of My Best Friends Highlights from the National Jewish Archive of Broadcasting Examine Anti-Semitism Through Classic TV Beginning March 18, 2016 New York, NY – With the second installment of its new, ongoing exhibition series, the Jewish Museum will continue introducing visitors to a dynamic part of its collection: the National Jewish Archive of Broadcasting (NJAB). The Television Project: Some of My Best Friends will be on view from March 18 through August 14, 2016 exploring the full range of the medium’s approach to anti-Semitism, from the satire and humor of the situation comedy to serious dramas that dissect the origins, motivations, and consequences of prejudice. Clips from such programs as All in the Family, Downton Abbey, Mad Men, Gunsmoke, and The Mary Tyler Moore Show will be featured. Some of My Best Friends features Mary Richards standing up to an anti- Semitic friend in The Mary Tyler Moore Show, “Some of My Best Friends Are Rhoda;” Jews fighting to prevent neo-Nazis from holding a rally in a predominantly Jewish town in Skokie; and Jewish emigrants confronting hatred in the Old West in the Gunsmoke episode, “This Golden Land” (featuring a young Richard Dreyfuss) and Little House on the Prairie, “The Craftsman.” Also included are clips from the first episode of the acclaimed Mad Men, where Roger Sterling suggests to Don Draper that their ad agency hire a Jew prior to meeting with a new Jewish-owned client; an LA Law segment, “Rohner vs. Gradinger,” depicting a confrontation between a Jewish lawyer and his Jew-hating WASP mother-in-law and her close friend; the bigoted Archie Bunker looking for a “Jew lawyer” because Jews are “smarter and shrewder” in Norman Lear’s groundbreaking All in the Family, “Oh, My Aching Back;” and a scene from Downton Abbey showing the family matriarch (Maggie Smith) expressing displeasure at news of a cousin romantically involved with a Jew. -
Notebooks Esteve Foundation 42
NOTEBOOKS Esteve Foundation 42 Television fiction viewed from the perspective Medicine in Television Series of medical professionals House and Medical Diagnosis. Lisa Sanders Editor: Toni de la Torre The Knick and Surgical Techniques. Leire Losa The Sopranos and Psychoanalysis. Oriol Estrada Rangil The Big Bang Theory and Asperger’s Syndrome. Ramon Cererols Breaking Bad and Methamphetamine Addiction. Patricia Robledo Mad Men and Tobacco Addiction. Joan R. Villalbí The Walking Dead and Epidemics in the Collective Imagination. Josep M. Comelles and Enrique Perdiguero Gil Angels in America, The Normal Heart and Positius: HIV and AIDS in Television Series. Aina Clotet and Marc Clotet, under the supervision of Bonaventura Clotet Nip/Tuck, Grey’s Anatomy and Plastic Surgery. María del Mar Vaquero Pérez Masters of Sex and Sexology. Helena Boadas CSI and Forensic Medicine. Adriana Farré, Marta Torrens, Josep-Eladi Baños and Magí Farré Homeland and the Emotional Sphere. Liana Vehil and Luis Lalucat Series Medicine in Television Olive Kitteridge and Depression. Oriol Estrada Rangil True Detective and the Attraction of Evil. Luis Lalucat and Liana Vehil Polseres vermelles and Cancer. Pere Gascón i Vilaplana ISBN: 978-84-945061-9-2 9 788494 506192 42 NOTEBOOKS OF THE ESTEVE Foundation Nº 42 Mad Men and Tobacco Addiction Joan R. Villalbí Don Draper is, in all likelihood, one of the most representative icons of the golden age that TV series are currently enjoying. Set in a New York ad agency in the 1960s, the show is a true and elegant reflection of a period characterized by social discrimination, and has reaped the most prestigious accolades since it premiered on the cable channel AMC in 2008. -
Introduction in FOCUS: Cinephilia
IN FOCUS: Cinephilia Introduction edited by MARK BETZ s was the case for authorship around 1990, in the last decade the tide has turned for cinephilia. Raised from the critical doldrums in which it had drifted since the 1970s, it has in the new mil- A lenium gathered momentum in the form of an outpouring of published essays, special journal issues, and book-length collections (as well as a singly authored monograph) devoted to its numerous mani- festations and implications. As some of the contributions in this dossier indicate, it was Susan Sontag’s 1996 New York Times Magazine lament for the bygone days of cinephilia, “The Decay of Cinema,” which sparked the powder keg—buried, not forgotten, unearthed anew—for critical work on what might be termed the new cinephilia. Much of this work proceeds from and along the faultlines that have divided aca- demic fi lm studies proper from the more broadly based fi lm culture which partly gave rise to the discipline in the fi rst place. And it is along precisely these faultlines that cinephilia’s future must be envisioned. I consider this in-between-ness to be a good thing: cinephilia may be understood as something of an irritant to certain entrenched con- ceptions about what academic study proper is, what it might concern itself with, how it should carry out its procedures—and this is very much the spirit of George Toles’s piece which concludes this dossier. It also fl ies in the face of the “death of cinema” doom-mongering that came into vogue around the time of Sontag’s article and that fi xated on how new digital media are effecting a fundamental break in the history of the medium. -
A Level Film Studies Candidate Style Answers
Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
Choosing Between Communication Studies and Film Studies
Choosing Between Communication Studies and Film Studies Many students with an interest in media arts come to UNCW. They often struggle with whether to major in Communication Studies (COM) or Film Studies (FST). This brief position statement is designed to help in that decision. Common Ground Both programs have at least three things in common. First, they share a common set of technologies and software. Both shoot projects in digital video. Both use Adobe Creative Suite for manipulation of digital images, in particular, Adobe Premiere for video editing. Second, they both address the genre of documentaries. Documentaries blend the interests of both “news” and “narrative” in compelling ways and consequently are of interest to both departments. Finally, both departments are “studies” departments: Communication Studies and Film Studies. Those labels indicate that issues such as history, criticism and theories matter and form the context for the study of any particular skills. Neither department is attempting to compete with Full Sail or other technical training institutes. Critical thinking and application of theory to practice are critical to success in FST and COM. Communication Studies The primary purposes for the majority of video projects are to inform and persuade. Creativity and artistry are encouraged within a wide variety of client- centered and audience-centered production genres. With rare exception, projects are approached with the goal of local or regional broadcast. Many projects are service learning oriented such as creating productions for area non-profit organizations. Students will create public service announcements (PSA), news and sports programming, interview and entertainment prog- rams, training videos, short form documentaries and informational and promotional videos. -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
Phd Manuscript 190429 Plain Text
The Presence of Performance and the Stakes of Serial Drama: Accrual, Transience, Companionship Elliott Logan MPhil (University of Queensland, 2013) BA, Hons (University of Queensland, 2009) BA (University of Queensland, 2007) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2018 School of Communication and Arts Abstract This thesis shows how performance is a critically neglected but crucial aspect of serial television drama as an art form. One of serial drama’s obvious storytelling attractions is its ability to involve viewers in relationships between characters over long periods of time. Such involvement takes place through a recurring structure of episodes and seasons, whose unfolding reflects the extensive, ongoing history through which interpersonal bonds form and develop, deepen and decay. The characters we watch onscreen are embodied and performed by actors. Television studies, however, has persistently overlooked screen performance, hampering appreciation of serial drama’s affinity with long-term relationships as a resource for aesthetic significance. Redressing such neglect, this thesis directs new critical attention to expressive stylistic relationships between serial form, screen performance, and the subject of companionship in some recent US serial dramas. The focus of that attention is a particular aesthetic quality: the provisional, which emerges through serial drama’s distinctive tension between permanence and transience. In the first chapter, I argue that the provisional is central to an affinity between screen performance, seriality in television drama, and companionship as an aspect of human life. Chapters Two and Three then show how the art of the provisional in particular series has been underappreciated due to television studies’ neglect of performance and expressiveness as dimensions of serial form in television fiction.