The Couch and the Silver Screen, Chapter 5 – Psychoanalytic
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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship -
Course Outline
Prof. Fatima Naqvi German 01:470:360:01; cross-listed with 01:175:377:01 (Core approval only for 470:360:01!) Fall 2018 Tu 2nd + 3rd Period (9:50-12:30), Scott Hall 114 [email protected] Office hour: Tu 1:10-2:30, New Academic Building or by appointment, Rm. 4130 (4th Floor) Classics of German Cinema: From Haunted Screen to Hyperreality Description: This course introduces students to canonical films of the Weimar, Nazi, post-war and post-wall period. In exploring issues of class, gender, nation, and conflict by means of close analysis, the course seeks to sensitize students to the cultural context of these films and the changing socio-political and historical climates in which they arose. Special attention will be paid to the issue of film style. We will also reflect on what constitutes the “canon” when discussing films, especially those of recent vintage. Directors include Robert Wiene, F.W. Murnau, Fritz Lang, Lotte Reiniger, Leni Riefenstahl, Alexander Kluge, Volker Schlöndorff, Werner Herzog, Wim Wenders, Rainer Werner Fassbinder, Andreas Dresen, Christian Petzold, Jessica Hausner, Michael Haneke, Angela Schanelec, Barbara Albert. The films are available at the Douglass Media Center for viewing. Taught in English. Required Texts: Anton Kaes, M ISBN-13: 978-0851703701 Recommended Texts (on reserve at Alexander Library): Timothy Corrigan, A Short Guide to Writing about Film Rob Burns (ed.), German Cultural Studies Lotte Eisner, The Haunted Screen Sigmund Freud, Writings on Art and Literature Siegfried Kracauer, From Caligari to Hitler Anton Kaes, Shell Shock Cinema: Weimar Cinema and the Wounds of War Noah Isenberg, Weimar Cinema Gerd Gemünden, Continental Strangers Gerd Gemünden, A Foreign Affair: Billy Wilder’s American Films Sabine Hake, German National Cinema Béla Balász, Early Film Theory Siegfried Kracauer, The Mass Ornament Brad Prager, The Cinema of Werner Herzog Eric Ames, Ferocious Reality: Documentary according to Werner Herzog Eric Ames, Werner Herzog: Interviews N. -
FLM302 Reading German Film 3 Module Outline 2019-20
FLM302: READING GERMAN FILM 3: CONTEMPORARY GERMAN CINEMA Course Outline, 2019-2020 Semester A 15 credits Course Organiser Dr Alasdair King [email protected] Arts 1: 2.08 Office hours: Wednesday 11-1 Timetable Screenings: Tuesday 10-12, Arts 1 G.34 Lectures: Tuesday 1-2, Bancroft G.07 Seminars: Thursday 2-3, Arts 2 3.17 Course Description This module will allow students to analyse various aspects of German film culture in the new millennium. It explores developments in recent German filmmaking in the context of the increasing globalisation of media industries and images and in the context of contemporary cinema’s relationship to other media forms. Stu- dents will explore the dynamics of recent German cinema, including its successes at major award ceremonies and at film festivals, its relationship to Hollywood and to other international cinemas, its distinct approach to questions of the audience, of auteurism and of production, and to transnational images, particularly con- cerning the emergence of Turkish-German filmmaking. Students will also address the representation of politics, terrorism, history, heritage and the national past, the engagement with issues of performance, gender and sexuality, the use of genre and popular commercial film styles, and the re-emergence of a ‘counter cinema’ in the work of the ‘Berlin School’ and after. Seminar work on current trends will allow students to work independently to research an individual case study of a chosen film and its significance to contemporary German cinema. Recommended Reading Abel, M (2013) The Counter-Cinema of the Berlin School. Rochester, NY: Camden House. -
FM 201 Introduction to Film Studies: German Cinema
FM 201 Introduction to Film Studies: German Cinema Seminar Leader: Matthias Hurst Course Times: Monday, 14.00 – 15.30; Tuesday, 19.30 – 22.00 (weekly film screening); Wednesday, 14.00 – 15.30 Email: [email protected] Office Hours: Tuesday, 13.30 – 15.00 Course Description In this introductory class basic knowledge of film history and theory, film aesthetics and cinematic language will be provided; central topics are the characteristics of film as visual form of representation, the development of film language since the beginning of the 20th century, styles of filmic discourse, film analysis and different approaches to film interpretation. The thematic focus will be on German cinema with classical films by Friedrich Wilhelm Murnau, Fritz Lang, Leni Riefenstahl, Wim Wenders, Volker Schlöndorff, Rainer Werner Fassbinder, Margarethe von Trotta, Tom Tykwer and others, reflecting historical and cultural experiences and changes in German history and society as well as developments in aesthetics and cinematic style. Foundational module: Approaching Arts Through Theory Credits: 8 ECTS, 4 U.S. credits Requirements No prerequisites. Attendance is mandatory for all seminars and film screenings. Students are expected to come to seminars and film screenings punctually and prepared, to participate actively in the class discussions and to do all the course assignments on time. * Please, do not use cell phones, smart phones or similar electronic devices during seminars and screenings! Academic Integrity Bard College Berlin maintains the staunchest regard for academic integrity and expects good academic practice from students in their studies. Instances in which students fail to meet the expected standards of academic integrity will be dealt with under the Code of Student Conduct, Section III Academic Misconduct. -
Narcocorridos As a Symptomatic Lens for Modern Mexico
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Vol. 1, No. 2 “Grave-Digging Crate Diggers: Retro “The Narcocorrido as an Ethnographic Fetishism and Fan Engagement with and Anthropological Lens to the War Horror Scores” on Drugs in Mexico” Spencer Slayton Samantha Cabral “Callowness of Youth: Finding Film’s “This Is Our Story: The Fight for Queer Extremity in Thomas Adès’s The Acceptance in Shrek the Musical” Exterminating Angel” Clarina Dimayuga Lori McMahan “Cats: Culturally Significant Cinema” Liv Slaby Spring 2020 Editor-in-Chief J.W. Clark Managing Editor Liv Slaby Review Editor Gabriel Deibel Technical Editors Torrey Bubien Alana Chester Matthew Gilbert Karen Thantrakul Graphic Designer Alexa Baruch Faculty Advisor Dr. Elisabeth Le Guin 1 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 2 Spring 2020 Contents Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement 2 with Horror Scores Spencer Slayton Callowness of Youth: Finding Film’s Extremity in Thomas Adès’s 10 The Exterminating Angel Lori McMahan The Narcocorrido as an Ethnographic and Anthropological Lens to 18 the War on Drugs in Mexico Samantha Cabral This Is Our Story: The Fight for Queer Acceptance in Shrek the 28 Musical Clarina Dimayuga Cats: Culturally Significant Cinema 38 Liv Slaby Contributors 50 Closing notes 51 2 Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement with Horror Scores Spencer Slayton he horror genre is in the midst of a renaissance. The slasher craze of the late 70s and early 80s, revitalized in the mid-90s, is once again a popular genre for Treinterpretation by today’s filmmakers and film composers. -
GN375 Revi Sed _____ Title of Course: the History of German Film New X__
Southeast Missouri State University Depar tment of Foreign Languages Course No. GN375 Revi sed _____ Title of Course: The History of German Film New _ X__ I. Catalog Descr iption and Cr edit Hour s of Cour se: A study of the history of German film from 1919 to the present, including the Weimar Republic, the Third Reich, Post War East and West Germany, and contemporary developments. 3 credit hours II. Pr er equi si t es: German 220 (German Literature) or equivalent or consent of the instructor. III. Cour se Obj ect i ves: A. To introduce the students to the major German film directors and films of the twentieth- century. B. To develop an approach to interpret these films as an outgrowth of their cultural, political, and soci o-economic milieu. C. To gain an understanding of Germany and appreciation of the German-speaki ng world based on their films. IV. Expectations of Students: A. Assignments: Students ar e exp ected to attend al l cl asses, compl ete al l assi gned r eadi ngs, and see al l r equi r ed f i lms. All films shown are in German with English subtitles. Students will see them outside of class. Only short subjects, clips etc. will be shown in class. B. Resear ch Pr oj ect: Students will select one film director or film for their semester project. They pr esent thei r pr oj ect i n Ger man dur i ng the l ast week of cl ass. C. In-Cl ass Repor ts: Students ar e exp ected to compl ete i n-class reports on events in the German- speaki ng world, the assigned readings, and related assignments. -
Contemporary German Cinema
Contemporary German Cinema (3 credits) From Weimar to Wall and Beyond Fall 2011 01:470:349:01 Index: 36006 Cross-listed with Comparative Literature 01:195:398:01 T 6 4:30 pm - 5:50 pm SC 219 Th 6 4:30 pm - 5:50 pm MU 213 Salvatore Pappalardo German House 172 College Avenue 732-932-7201 [email protected] Office Hours: Mondays 11.30 am – 12.30 pm or by appointment Course description: With innovative films by directors like Rainer Werner Fassbinder, Volker Schlöndorff, Helma Sanders-Brahms and others, postwar German cinema garnered the attention of the international community. This course examines this development, which began with a manifesto proclaiming a “New German Cinema.” To fully appreciate the wave of innovation in German film we will briefly consider the cinema at the end of the Weimar Republic and then follow the trajectory through the postwar years, the post-unification period and present-day multi-cultural Germany. Screenings will take place within the context of the Leupp Hall special interest housing film nights, but copies of the film (in either DVD or VHS format) will be available on reserve at the Alexander Library. The objective of this course is to familiarize students with theoretical approaches to film and the historical development of German cinematography. Over the course of the semester, students will learn how to analyze and interpret films by learning about technical production (sound, shots, montage etc.) and by placing films against the background of transformations in German society. Taught in English Film screenings in German with English subtitles Required texts: James Monaco. -
German Films Quarterly 2 · 2004
German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS. -
Fangoria 345(2015)
IT'S ALIVE—AND IT'S ANGRY! CANADA U.S.& $11.99 Hus: JERUZALEM • Larry Fessenden • Fabio Frizzi • Clu Gulager www.fangoria.com Wrestling HoiTor • THE HALLOW • CONDEMNED • Much more! NOW IN THEATERS f- & ON DEMAND CONTRACTED itHORROR PHASE 2 IN THEATERS & [ NOW ON DEMAND I DEMANOffc’^ . I 11/20 LEARN BY DOING. sFACTORY Digital Filmmaking Program at Douglas DOUGLASEducation Center 1 30 Seventh Street • Monessen, PA 1 5062 Financial aid is available to those who qualify. For more information about graduation rates, median debt of students who completed the program, and consumer information, please visit www.dec.edu/df Housing is available through Boss Development, Inc. DEC.EDU 1.800.413.6013 THIS SCHOOL IS AUTHORIZED UNDER FEDERAL LAWTO ENROLL NONIMMIGRANT ALIEN STUDENTS. 1 6 PREVIEW: “KRAMPUS” The “anti-Claus” gets the major movie vehicle he’s long deserved, thanks to 54 ON SET: “THE HALLOW” Irish forest dwellers are director Michael Dougherty. no longer confined to legend in Corin Hardy’s mythological chiller. 20 PREVIEW: “JERUZALEM” Israeli filmmaking brothers Doron and Yoev Paz spread unholy evil 58 DN SET: “CHARLIE’S FARM” Do you dare join us across sacred ground. to trespass on the grounds of Chris Sun’s huge, savage psychopath? 22 ONSET: “CONDEMNED” 64 INTERVIEW: CLU GULAGER From “Return of the In Eli Morgan Living Dead” to “Feast,” something’s always been Gesner’s infection eating at the veteran actor. opus, catching the murderous rage 68 FEATURE: “MEXICD BARBARD” Director/producer doesn’t mean Lex Drtega et al. are seeing their ambitious anthology you lose your head north of the border. -
Titel Kino 2-2000
EXPORT-UNION OF GERMAN CINEMA 2/2000 At the Cannes International Film Festival: THE FAREWELL by Jan Schütte LOST KILLERS by Dito Tsintsadze NO PLACE TO GO by Oskar Roehler VASILISA by Elena Shatalova THE TIN DRUM – A LONE VICTOR On the History of the German Candidates for the Academy Award »SUCCESS IS IN THE DETAILS« A Portrait of Producer Kino Andrea Willson Scene from “THE FAREWELL” Scene from Studio Babelsberg Studios Art Department Production Postproduction Studio Babelsberg GmbH August-Bebel-Str. 26-53 D-14482 Potsdam Tel +49 331 72-0 Fax +49 331 72-12135 [email protected] www.studiobabelsberg.com TV SPIELFILM unterstützt die Aktion Shooting Stars der European Filmpromotion www.tvspielfilm.de KINO 2/2000 German Films at the 6 The Tin Drum – A Lone Victor 28 Cannes Festival On the history of the German candidates for the Academy Award 28 Abschied for Best Foreign Language Film THE FAREWELL Jan Schütte 11 Stations Of The Crossing 29 Lost Killers Portrait of Ulrike Ottinger Dito Tsintsadze 30 Die Unberührbare 12 Souls At The Lost-And-Found NO PLACE TO GO Portrait of Jan Schütte Oskar Roehler 31 Vasilisa 14 Success Is In The Details Elena Shatalova Portrait of Producer Andrea Willson 16 Bavarians At The Gate Bavaria Film International 17 An International Force Atlas International 18 KINO news 22 In Production 22 Die Blutgräfin 34 German Classics Ulrike Ottinger 22 Commercial Men 34 Es geschah am 20. Juli Lars Kraume – Aufstand gegen Adolf Hitler 23 Edelweisspiraten IT HAPPENED ON JULY 20TH Niko von Glasow-Brücher G. W. -
Catalogo Editoriale Gruppo Bixio
Tabella 1 TITOLO COMPOSITORE AUTORE EDITORE IL GIOVANE TOSCANINI Granadine AGENZIA R. FINZI PRATICAMENTE DETECTIVE GUIDO DE ANGELIS Granadine LA NOTTE DEGLI SQUALI GALE ITALIANA s.r.l. FATTI DI GENTE PER BENE MORRICONE ENNIO BIXIO CEMSA PRONTO CHI PARLA Bixio Sam LE SORELLE GASLINI GIORGIO BIXIO CEMSA METTI UNA SERA A CENA MORRICONE ENNIO BIXIO CEMSA AMAZZONI BIANCHE D'Elia Antonio Bixio Sam AMICIZIA SIMONETTI ENRICO Bixio Sam MIMI' METALLURGICO FERITO NELL'ONORE PICCIONI GIAN PIERO BIXIO CEMSA PAPRIKA Bixio Cesare Andrea Cherubini Bixio BIXIO CEMSA AMORE LIBERO FABIO FRIZZI Bixio Sam AMORE MIO NON FARMI MALE SIMONETTI ENRICO BIXIO CEMSA STROGOFF USUELLI TEO BIXIO CEMSA ANDREMO IN CITTA VANDOR IVAN BIXIO CEMSA GLI ORDINI SONO ORDINI BUONGUSTO ALFREDO BIXIO CEMSA LA BATTAGLIA DELL'ULTIMO PANZER LAVAGNINO ANGELO FRANCESCO BIXIO CEMSA L'ASSOLUTO NATURALE MORRICONE ENNIO Bixio Sam ASSOLUTO NATURALE ENNIO MORRICONE Bixio Sam UN OMICIDIO PERFETTO A TERMINE DI LEGGE GASLINI GIORGIO BIXIO CEMSA MEZZANOTTE D'AMORE MALATESTA LUIGI/BIXIO CARLO ANDREA BIXIO CEMSA BALI FILM GASLINI GIORGIO Bixio Sam MARIONETTE Bixio Sam LES BICHES BIXIO FRANCO BIXIO CEMSA SECONDO PONZIO PILATO BRANDUARDI ANGELO Bixio Sam ANGELI SENZA PARADISO LAVAGNINO ANGELO FRANCESCO BIXIO CEMSA LE CINQUE GIORNATE Bixio Sam REQUIEM PER UN GRINGO LAVAGNINO ANGELO FRANCESCO BIXIO CEMSA LA COLLINA DEGLI STIVALI RUSTICHELLI CARLO BIXIO CEMSA GATTA CI COVA Bixio Sam LA MORTE BUSSA DUE VOLTE UMILIANI PIERO BIXIO CEMSA URSUS NELLA TERRA DI FUOCO SAVINA CARLO-BIXIO C.A. Bixio Sam SANTA SANGRE Bixio Sam ERODE ANTIPA Bixio Sam LA CRIPTA E L'INCUBO SAVINA CARLO-BIXIO C.A.