DOCSLIB.ORG

About Me Work Education Skills Languages

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
About Me Work Education Skills Languages Ranjan Rampal Film Editor, Filmmaker, Poet f photographer, videographer, designer, Teacher (Filmmaking) FTII, FAMU ABOUT ME SKILLS Dedicated to make good films and art, seeker for associating with good creative FILM EDITING a DRAMATURGY artists, producers, directors, and viewers. I am a film editor, dramaturg, filmmaker and poet, nurturing and improving my craft that I studied at film school(FTII / STORY a CHARACTERISATION FAMU) and mass communication (BJMC, GGSIPU University, Delhi). I am good in CAMERA a SOUND team management, strategy, Idea development and keen on perfection as an TECHNICAL artist. I am enriching as a teacher. Always happy for good WORK to associate with. (FCP, FCPX, AVID, PREMIERE, PHOTOSHOP), CAMERAS, FILM , DIGITAL WORK POETRY TEACHING FEATURE FILMS Edited 1 feature fiction film and 1 documentary feature film. Learning never stops and ultimate happiness is to see the work EDUCATION finally taking its shape, Shaping is my work. 2014 - Self Learner and Researcher present SHORT FILMS 2014 - present ( Prague, Czech Republic ) Edited and directed different short films of different lengths, in different Learning, Researching and exploring new film techniques, languages like Hindi, Marathi, Russian, Czech and English on digital as Indian New wave Cinema and Indian aesthetics of Drama, well as on film (16mm, 35mm). Edited on flatbed Steinbeck and also on comparing with European asthetics and Czech New wave softwares like FCP X, FCP 7, Avid and Premeire Pro. For me films are cinema. Working on Video art and projection mapping. like poetry of images and sound, the rythems come with movements. 2008 - PgD, Film Editing, FTII DOCUMENTARIES 2015 Film and Television Institute of India Edited various short to long documentaries, on the topics, situations and 2008 - 2015 ( Pune, Maharashtra, India ) people who touch me and let me explore my questions and enhance me Did PG Diploma at Film and TV school FTII, Editing faculty. within, with directors from Central Europe, America and India. Concentration - fiction films, documentaries. MUSIC VIDEOS 2012 - Editing and even Directing music videos and concerts with my 2Years,FilmEditing,FAMU 2014 wife (Director), my friends - musicians and composers, directors. 2012 - 2014 ( Prague, Czech Republic ) Completed 2 years Freemover programme at University of POETRY Performing Arts, Film and TV Faculty concentrating in Film With grace and passion, writing my heart and experience into paper Editing. Even edited Master degree Diploma feature film with that gives me deep happiness. It helps me in my film projects too. other short films, trailers, music videos, other projects and TEACHING other classes which have enhanced my skills as filmmaker. As I got teachers who guided me, I am trying to give it further, my 2005 - Bachelors, Mass comm, GGSIPU 2008 experience while following the dream path. At the same time it 2000 - 2005 ( Delhi, India ) makes me keep learning and sharpening my skills. I am teaching Completed Bachelors at Guru Gobind Singh Indraprastha film editing, helping students in there projects as dramaturg. University - MBICEM college - Journalism and Mass MEDIA - Journalism, writing, Photography and Events Communication Faculty which gave me opportunity to explore IhavebeenJournalistandwriter.{TheStatesman(2006-07), and learn - Journalism, Advertising, Event management, IANS(2007), Deshgatha(2005-06). Also reporter in DD News(2007) Public Relations, Photography and film making. and TV Live Graphics in DD Sports(2008). Even organised events and handled PR for organisations in Delhi. Now carry these skills as writer, My FILM MENTORS designer (Ideas/ graphics/ Web) and Photographer. Jethu Mundul, Bhimsen Lenin, Arghya Basu, Arghyakamal Mitra, Amitabh Shukla, Amitabh Chakrobarty, Ranjum Rajabali, RV Ramani, Anand Patwardhan, Kumar Sahani, Mani Kaul, LANGUAGES Kamal Swaroop, Kundan Shah, Resul Pokutty, Mgr. Marek ENGLISH HINDI PUNJABI SLOVAK - CZECH FILM :-) Bouda, Doc. Mgr. Ivo Trajkov, Radim Valak, Bara Kopecka, Vit Janecek, Ladislav Serry. CONCERT VIDEOS EXPERIENCE SAPTAPARNI 2015 for 'VOILA' band and 'DER PARTYANKER' band. 2015 large short film (35mm) (dir- Gyan Gaurav) (in post) Directed and edited concert music videos. Also did camera. Edited short fiction film, Does a man's life change in his 30's who is WHO ARE THEY on a high position, unsatisfied seeking for love and home.. 2014 large short docu (19min). (dir - Amory Parks) UJO VIKTOR As editor and dramaturg. film on Roma (gypsie) community in 2014 feature film (72min)(Red4k) (dir- Viktoria Rampal Dzurenko) Prague and perception of an American director of her own Edited First feature fiction film, Autobiographical story of ukrain- thoughts and understanding life of differences and perception. slovak family and their relationship struggle as they meet. PAMET, memory MUSIC VIDEOS - PIVONKY BAND 2014 poetry docu short (14min) (16mm/digital) (dir- Cassidy Kean) 2014 Pivonky music (dir- Viktoria Rampal Dzurenko) As co-editor and dramaturg. Director is seeking to understand Edited 8 music videos for Pivonky band, shown on Tv. memory through the eyes of a beautiful couple, living in Prague. RUSINI (Cizinec je nasinec) PRABHAT NAGARI 2013 large short docu(26min) (dir- Viktoria Rampal Dzurenko) 2012 short poetry docu-fiction film. (35mm)(dir - Aman Wadhan) Edited documentary film for Czech television dealing about film about workers and space in Prabhat Studio, India's finest film Rusinian minority living in Czech Republic. studio which has evolved as a film school FTII. (10+ awards, 25 fest) WHEEL OF LIFE CHAMALEONIC 2012 short poetry docu(10min) (dir- Viktoria Rampal Dzurenko) 2012 long docu film. (dir- Devanjali Sarkar) Short poetry film on hard cyclic life of Indian wood postman Edior. Montage set in a courtyard in Kathmandu Nepal to seek an family, where the hope exist in their being together and love. understanding of HOME and inside of an artist. Theatre artist turns UPAJ - Kathak Dancers family everyday moments into his inspiration to an impromptu and through a 2012 short docu (dir- Karan Kapoor) word association game reveals his personal gaze and sensibility. AfamilyofKathakdancerslifecomesbeautifullywiththeir SHEVATCHA DIVAS, THE LAST DAY love, passion and their journey for their art in this large short. 2011 Long documentary. (dir- RV. Ramani and FTII directors) INVOCATION Editor. When a worker is getting retired in film school FTII, how his 2011 short poetry film (35mm) (dir- Aman Wadhan) day reveals his everyday attachment and relationship with people Surreal poetry- portrait of an actor's inside in a poetry form, and space, while revealing past, present and his journey to the day seeking how an actor prepares in a surreal space using UMMEED, in the corner of silent village classical dance movements and his way of invocation. 2009 short fiction film. (dir - Ranjan Rampal) MOONSHINE - Alcohol not alcohol directed, wrote and edited a Marathi short, on how media seeks 2006 short documentary (dir- Sanjay Rawat) stories on farmers suicides and situation. Editor and dramaturg. Film on side effects of local alcohol on families, especially when it is chemically made illegaly. Eqqus - Stage Film (CinePlay) Behta pani door tak (flowing water till far) 2009 Theater film (CinePlay). (stage dir - Manish Gandhi) 2011 short fiction(16mm) (dir- Ranjan Rampal) As director, camera, Editor. Play 'Eqqus' directed by Manish Gandhi. As Director, writer, Editor. Son meets father on death of More projects grandmother, where anger of past flows away 2007 - present . Doctor (35mm/sound), Chochlateman (35mm/sound), Video-art films, Editing 5 more projects (3docu dir by Viktoria Rampal Dz.) maine Gandhi ko nahi maara (16mm/edit), Anugoonj student fest docu Cinematographer,2shorts(16mm),4shorts(digital) (co-dir/edit), Scrabble (edit), Animation films, CMS Vatavaran film fest Asst Camera,10shorts(16mm)+15shorts(digital) opening film (producer/edit), Manthan(coverage/edit), Rana(dir, edit), Asst Dir (Ujo Viktor, Czech Loves India, Prabhat Nagari, more) Run (dew ad), music videos, trailers, corporate films, shorts, exercises AD/ Production (6diplomas, 14+ shorts, 3 docu) Audiographer (2 shorts FAMU, 6 shorts - FTII, asst 11shorts) TEACHING Photo/video-grapher(portraits, moments, family, events, concerts) Docu Editing Teaching and Dramaturg, CET, FAMU 2014 Story Writer and teller, Poet, Graphics and Web Designer, Filmmaking workshops, Prague 2014 Meditator and Healing learner at Meditatation workshops Film Workshops (CinemaDance), FAMU International 2014, 2013 Ranjan Rampal TeachingforAvidModule,FAMUInternational 2013 Recognised and films awarded in 30+ film fest- TIFF, PIFF, IDSFFK, Master Workshop (Editing), KoloritFest Film Fest 2013 Meters, NSFA, CineGlobe, KIFF, BIFFSF, SFF, Edinburgh, FIA, IFFI Jury and speaker at Seminars, Kolorifest 2013 GRAPHICS Meditator, massage and Healing Learner, workshops 2014, 2015 TEACHING Lectures (Indian Art and Business), Psychology, Charles University FILMMAKING PHOTOGRAPHY Assistant Teacher, Film class, Pune University 2012 POETRY Teaching at Children film workshop, Pune 2012, 2011.
Load more

Recommended publications
  • Poetry-Film & the Film Poem
    Poetry-Film & The Film Poem: Some Clarifications Ever since experimental filmmakers and critics starting theorising the concepts behind avant-garde visual explorations, the idea of poetry was seen as a fruitful model for the creative process of the more lyrical side of experimental film practices. The working mode of the narrative-liberated filmmaker seemed somehow analogous to this of the modernist poet. In some cases (like this of Stan Brakhage) even the very lifestyle of the filmmaker resembled that of the romantic poet, as did the modes of production in creating and distributing the work. This appears as somewhat of a contradiction when we read some of the statements / manifestos of film artists, within which they often stress the importance of film as an independent art, suggesting that film could only be a respectable art form if it struggles to work within the specificities of its own language. [The notion of medium-specificity is a commonplace for modernism]. In the opening sequence of ‘The Man With The Movie Camera’, Dziga Vertov writes his manifesto: “The film presents an experiment in the cinematic communication of visible events without the aid of intertitles (a film without intertitles), without the aid of a scenario (a film without a scenario), without the aid of theatre (a film without actors, without sets etc). This experimental work aims at creating a truly international absolute language of cinema based on its total seperation from the language of theatre and literature”1 In this statement Vertov asks audience and filmmakers alike to see filmmaking as an independent art form with its own language, a language that does not need to borrow from other arts to be meaningful.
    [Show full text]
  • AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
    Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques.
    [Show full text]
  • The Technological Imaginary of Imperial Japan, 1931-1945
    THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology.
    [Show full text]
  • The Making of the Independent Short Film, Teatriños: Homenaxe Ao Mineral Do Repolo
    The Making of the Independent Short Film, Teatriños: Homenaxe ao mineral do repolo (Little Theatres: Homage to the Mineral of Cabbage.) Stephanie Dudley Sometime in 2007, I decided to make my first short film. I chose the medium of stop motion puppetry for the film, and all sets, puppets, and decorations were created by hand. The film is about cabbage, and is based on Erín Moure’s poem, Homage to the Mineral of Cabbage. The decision to make this film had been about a 10 years development, and this little cabbage film has since created many waves in my life. I went to art school in the mid 1990s. I majored in Drawing and Painting at Ontario College of Art and Design (now OCAD University), and was mostly interested in trying out different media, or using old media in new ways. So while I painted with oils in the traditional way, on canvas and panels, I also painted with oils on plasticky architectural vellum; or on substrate-less acrylic layers, created by hand, so that the final painting looked like it was painted on a delicate, translucent skin. I took photography classes where I experimented either in the darkroom, or with polaroids and photocopiers, altering images in a way that would make them part painting, part sculpture, part photograph. Without ever using a computer, I thought of myself as a multimedia artist. I did not know how to use Photoshop or any other graphics program. I just wasn’t that interested. Stephanie Dudley Early on in my last year of college, I was involved in an art show, with several of my paintings and mixed-media photography on display in the school’s atrium.
    [Show full text]
  • 1 Animating Poetry: Whose Line Is It Anyway?
    1 ANIMATING POETRY: WHOSE LINE IS IT ANYWAY? CREATION & CRITIQUE OF SHARED LANGUAGE IN POETRY ANIMATION I am an animator who creates poetry films from historical and contemporary poetic sources. My interest is not in the literal representation of the poem, but in developing a balanced, interpretative, temporal audiovisual language that connects the viewer to the poet and the poem. In this way, the content and context of the written poem is translated, transcribed, or remodeled into a new visual and sonic experience. In order to achieve this, I first undertake detailed analysis of potential meaning and impact through close reading of the poem, as well as studying artefacts and documents relating to the poem, the poet and the subject. This immersive reading might involve the study of timing, rhythm, language construction, emotive juxtaposition, simile and metaphor, as well as consideration of cultural, geographic and historic contexts. Such detailed documentary research gives informed context to development of visual imagination. This paper will explore some aspects of my own animation practice including material from conversations with collaborators, as well as a more general investigation into creation and critique of shared language between poetry and animation. I think it is time that poetry animation should be considered as a genre or artform in its own right with the potential for communicating Ecstatic Truth. In this paper I am offering a very detailed analysis of a commissioned collaboration with the New Zealand poet Bill Manhire which we undertook in 2016 for 1418NOW, animating poetry written about the First World War, with an introductory examination of historical and contemporary examples of what may be referred to as poetry animation.
    [Show full text]
  • Poetry's Afterlife: Verse in the Digital Age / Kevin Stein
    POETRY'S AFTERLIFE DIgITALCULTUREBDDKS is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Poetry's Afterlife VERSE IN THE DIGITAL AGE Kevin Stein The University of Michigan Press and The University of Michigan Library ANN ARBOR Copyright © by the University of Michigan 20IO Some rights reserved This work is licensed under the Creative Commons Attribution-Noncommercial­ No Derivative Works 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Published in the United States of America by The University of Michigan Press and The University of Michigan Library Manufactured in the United States of America r§ Printed on acid-free paper 2013 2012 2011 2010 4 3 2 I A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Stein, Kevin, 1954- Poetry's afterlife: verse in the digital age / Kevin Stein. p. cm. - (Digitalculturebooks) ISBN 978-0-472-07099-2 (cloth: alk. paper) - ISBN 978-0-472-05099-4 (pbk.: alk. paper) I. American poetrY-21st century-History and criticism. 2. Poetry-Appreciation­ United States-HistorY-2Ist century. 3. Poetry-Appreciation-United States­ HistorY-20th century. 4. American poetrY-20th century-History and criticism. I. Title. ps326s74 2010 811.509-dc22 ISBN 978-0-472-02670-8 (e-book) For Deb, with daisies, And for Kirsten and Joseph, who question everything.
    [Show full text]
  • Turning Metaphor Into Moving Images by Sally Bayley, Suzie Hanna And
    Turning Metaphor into Moving Images by Sally Bayley, Suzie Hanna and Tom Simmons Moving Metaphors How easy is it to turn poetry into moving images; to turn poetry into film? What is the relationship between the core component of poetry – figurative language– and the narrative arc required of film? How do you turn metaphors into stories? These are some of the questions asked by animator Suzie Hanna who, since 2007 has been working with sound composer Tom Simmons and poetry expert, Sally Bayley in creating animated films that interpret the work of three metaphorically dense American poets Sylvia Plath, Emily Dickinson and Hart Crane. The essential challenge in making these films was how to transfer the compressed language of metaphor to the equally compressed forms of animation in visual and sonic forms. In bringing together the languages of sound and moving images we hoped to find a new way of thinking about the structures of poetic metaphor. In its most basic definition, metaphor is a process of carrying over one body of language to another; from that marriage of two languages a third language is born. ‘Metaphor’ stems from the Greek word ‘meta’ which means “across” and ‘pherein’, which means “to carry.” You might think of metaphor as being a bit like the changeling child in Shakespeare’s A Midsummer Night’s Dream who is carried over to us from the exotic world of India in the poetic language of Titania, Queen of the Fairies, who tells us his story. We learn of the child’s dead mother, who was once one of her followers.
    [Show full text]
  • The Effect of Docudrama Films on Psychological Distress Among Urban Women Refugees in Nairobi County, Kenya
    THE EFFECT OF DOCUDRAMA FILMS ON PSYCHOLOGICAL DISTRESS AMONG URBAN WOMEN REFUGEES IN NAIROBI COUNTY, KENYA. BY ELIUD K. SITUMA M88/10932/2008 A RESEARCH THESIS SUBMITTED TO THE SCHOOL OF CREATIVE ARTS, FILM AND MEDIA STUDIES IN FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY (FILM TECHNOLOGY) OF KENYATTA UNIVERSITY MARCH 2018 i DECLARATION I declare that this Thesis is my original work and has not been submitted to any other higher institution of learning for academic credit Signed Date Eliud K Situma (B.Ed , M.A, MBA) M88/10932/2008 Supervisors This thesis has been submitted for review with our approval as university supervisors Signature Date Dr. John Mugubi (Department of Film and Theatre Arts, Kenyatta University) Signature_____________________________________Date___________________ Dr Christine Wasanga (Department of Psychology, Kenyatta University) ii DEDICATION This research is dedicated to my family. You have been a pillar to my success. iii ACKNOWLEDGEMENT I sincerely acknowledge my two supervisors: Dr John Mugubi and Dr Christine Wasanga for the tireless effort of shaping my research. Your timely feedback and moral support was invaluable. I thank Kenyatta University for the scholarship and conducive environment to study. Dr Oliver Mbayi, thanks for being the therapist. You made all therapy sessions interesting. Much appreciation to Kayole Catholic church for offering a venue where the therapy sessions were conducted. My research could have been incomplete without the support of my research assistants who helped me in data collection and analysis. Thanks a million, Norman Shitote, Brian Meche, Nancy Kobado, Phylis Wanjiru, Paul Patrick Kariuki, Vigilance Atieno, Alice Kombani, Carolyne Khakasa, Evelyne Kamau and Evans Mbogai.
    [Show full text]
  • International Journal of Scottish Theatre and Screen Volume 7 Number 2, 2014
    International Journal of Scottish Theatre and Screen Volume 7 Number 2, 2014 Acknowledged Legislators: ‘Lived experience’ in Scottish Poetry Films Richie McCaffery, University of Glasgow, and Stefanie Van de Peer, University of Stirling In his 2014 book Arts of Independence, co-authored with artist Alexander Moffat, Alan Riach asserts that, while Scotland has had more than its fair share of important and experimental filmmakers, from John Grierson and Bill Douglas to Margaret Tait, the country still lacks a coherent film industry (p. 42). David Archibald’s Forsyth Hardy Lecture at the Edinburgh International Film Festival in 2014 also engaged with the lack of a national film industry in Scotland in the context of the independence referendum, and highlighted the transnational nature of cinema in general and Scottish cinema specifically. He argued for a more concerted effort towards an independent film industry in the country, and we argue here that one of the strategies for starting to foster an independent, national film identity could arguably be through a focus on the lives of poets and writers in film who are themselves devoted to issues of nationhood and national identity. In the case of this article, the poets in question are Hugh MacDiarmid, Norman MacCaig, Sorley MacLean, Liz Lochhead and Robert Alan Jamieson. While these are not the only poets who have been subjects for Scottish films, we wish to focus on these as they are well-known, and have a consistent interest in the medium of film. From early on poetry has held a privileged position within documentary filmmaking as both a component and a subject, for instance in the GPO’s Anglo- Scottish Night Mail (1936) where W H Auden’s poem, recited by Stuart Legg (in England) and John Grierson (once they cross the Scottish border), matches the rhythms of the steam-train carrying mail.
    [Show full text]
  • Course Guide
    COURSE GUIDE MAC 324 FILM, CINEMA AND LITERATURE COURSE TEAM COURSE WRITER Peter Iorper Ugondo Department of Mass Communication Kwararafa University Wukari State +234-703-9625-004 [email protected] CONTENT EDITOR Dr. Victor Ayedun Aluma Department of Mass Communication University of Jos Jos, Plateau State +234-802-3519-324 HEAD OF UNIT Dr. Chidinma H. Onwubere National Open University of Nigeria Victoria Island, Lagos +234-8023014372 [email protected] conwubere, @noun.edu.ng NATIONALOPENUNIVERSITY OFNIGERIA 1 National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office No.5 Dar es Salam Street Off Aminu Kano Crescent Wuse II, Abuja Nigeria e-mail: [email protected] URL: www.nou.edu.ng Published by: National Open University of Nigeria 2015 First Printed 2015 ISBN: All Rights Reserved Printed by 2 CONTENTS 1. Introduction 2 2. What you will learn in this course 2 3. Course aims 3 4. Course objectives 4 5. Working through the course 5 6. Course materials 5 7. Study Units. 6 8. Textbooks and References 7 9. Assessment 7 10. Tutor-marked assignment 7 11. Final examination and grading 8 12. What you will need in this course 8 13. Facilitators/Tutors and Tutorials 8 14. Conclusion 9 15. Summary 9 3 Introduction MAC 324: Film, Cinema and literature is an undergraduate course in Mass communication. The course contains a systematic and in depth approach to the study of film and other related areas like literature. Various perspectives on the nature of film as medium of communication are presented in an easy to understand manner.
    [Show full text]
  • AS.210 Modern Languages & Literature
    AS.210 Modern Languages & Literature 1 AS.210.111. Spanish Elements I. 4 Credits. AS.210 MODERN LANGUAGES This is an introductory Spanish language course. On completion of this course, the students will have acquired the basic communication & LITERATURE and grammatical skills necessary for speaking, writing, listening and reading in Spanish. Students will demonstrate these skills through AS.210.101. French Elements I. 4 Credits. their performance in class, by completing several online assignments, Provides a multi-faceted approach to teaching language and culture and by taking part in three group presentations in addition to two to the novice French student. The first semester emphasizes listening comprehensive exams which focus on the following thematic topics: and speaking, while laying the foundation in grammar structures, Greetings, University Life, Family and Leisure. Students will also be reading, and writing. This course is designed for true beginners: Students introduced to the culture, history and geography of various Spanish and with any previous background must take the placement test (http:// Latin American countries. The content covered in Spanish Elements 1 is www.advising.jhu.edu/placement_french.php) and receive below 30. May the foundation for all consecutive Spanish courses. A placement exam not be taken on a Satisfactory/Unsatisfactory basis. is required to ensure the appropriate level. Your enrollment in Spanish AS.210.102. French Elements II. 4 Credits. Elements I will not be considered for approval until you have emailed the The second semester of this intensive course for beginners provides Spanish Language Director. students with the linguistic tools to read excerpts from a play (Antigone AS.210.112.
    [Show full text]
  • Queer Emergencies March 25—April 25, 2021 02 Toronto Queer Film Festival Cover Image: “Thisisforus,Shanel Edwards,”USA,2019
    TQFF Queer Emergencies March 25—April 25, 2021 02 Toronto Queer Film Festival Cover Image: “ThisisForUs,Shanel Edwards,”USA,2019. TQFF would like to acknowledge the indigenous territories that we gather on: this stolen land is the territory of the Huron-Wendat and Petun First Nations, the Seneca, and most recently, the Mississaugas of the Credit River. The territory was the subject of the Dish With One Spoon Wampum Belt Covenant, an agreement between the Haudenosaunee Confederacy and Confederacy of the Ojibwe and allied nations to Land Acknowledgement peaceably share and care for the resources around the Great Lakes. TQFF operates in solidarity with Indigenous peoples of Turtle Island. We recognize that decolonization must be an active and ongoing process – TQFF is dedicated to creating a space in our programming to promote the creative and political work of Indigenous queer, trans, and two-spirited voices. 03 Land Acknowledgement 03 About TQFF 05 Welcome Note 06 TQFF goes Online 07 Attend and Support 08 Team 09 Funders and Partners 10 Schedule 12 Table of Contents Table Feature 14 Long time Comin’ by Dionne Brand Programs Queer Emergencies 17 Mundane Crisis 30 Ruptures 38 Still (,) Here 45 Hostile Territories 53 Porn is so Boring 58 This is Where We Find Ourselves 70 What We Do After 78 Symposiums Canada Media Fund 101 88 Decentralized Experiences 89 Radical Love as Technology 91 Diasporic Contemporaries 93 Queering in the Midst of Chaos 96 Documentary Production in the Era of COVID-19 100 Queering the Web 102 Body-Territory 105 Facing the Crisis 107 Digital Film Market 108 Thank You 110 04 About TQFF The Toronto Queer Media & Arts Centre is a nonprofit arts collective that grew out of the Toronto Queer Film Festival (TQFF), which launched in 2016 in response to an urgent need for exhibition space in Toronto for work by and about marginalized queer and trans people.
    [Show full text]