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The Coming of Sound Film and the Origins of the Horror Genre
UNCANNY BODIES UNCANNY BODIES THE COMING OF SOUND FILM AND THE ORIGINS OF THE HORROR GENRE Robert Spadoni UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more informa- tion, visit www.ucpress.edu. A previous version of chapter 1 appeared as “The Uncanny Body of Early Sound Film” in The Velvet Light Trap 51 (Spring 2003): 4–16. Copyright © 2003 by the University of Texas Press. All rights reserved. The cartoon on page 122 is © The New Yorker Collection 1999 Danny Shanahan from cartoonbank.com. All rights reserved. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Spadoni, Robert. Uncanny bodies : the coming of sound film and the origins of the horror genre / Robert Spadoni. p. cm. Includes bibliographical references and index. isbn 978-0-520-25121-2 (cloth : alk. paper) isbn 978-0-520-25122-9 (pbk. : alk. paper) 1. Horror films—United States—History and criticism. 2. Sound motion pictures—United States— History and criticism. I. Title. pn1995.9.h6s66 2007 791.43'6164—dc22 2006029088 Manufactured in the United States -
Journal of Religion & Society
Journal of Religion & Society Volume 6 (2004) ISSN 1522-5658 David, Mickey Mouse, and the Evolution of an Icon1 Lowell K. Handy, American Theological Library Association Abstract The transformation of an entertaining roguish figure to an institutional icon is investigated with respect to the figures of Mickey Mouse and the biblical King David. Using the three-stage evolution proposed by R. Brockway, the figures of Mickey and David are shown to pass through an initial entertaining phase, a period of model behavior, and a stage as icon. The biblical context for these shifts is basically irretrievable so the extensive materials available for changes in the Mouse provide sufficient information on personnel and social forces to both illuminate our lack of understanding for changes in David while providing some comparative material for similar development. Introduction [1] One can perceive a progression in the development of the figure of David from the rather unsavory character one encounters in the Samuel narratives, through the religious, righteous king of Chronicles, to the messianic abstraction of the Jewish and Christian traditions.2 The movement is a shift from “trickster,” to “Bourgeoisie do-gooder,” to “corporate image” proposed for the evolution of Mickey Mouse by Robert Brockway.3 There are, in fact, several interesting parallels between the portrayals of Mickey Mouse and David, but simply a look at the context that produced the changes in each character may help to understand the visions of David in three surviving biblical textual traditions in light of the adaptability of the Mouse for which there is a great deal more contextual data to investigate. -
Recommended Films: a Preparation for a Level Film Studies
Preparation for A-Level Film Studies: First and foremost a knowledge of film is needed for this course, often in lessons, teachers will reference films other than the ones being studied. Ideally you should be watching films regularly, not just the big mainstream films, but also a range of films both old and new. We have put together a list of highly useful films to have watched. We recommend you begin watching some these, as and where you can. There are also a great many online lists of ‘greatest films of all time’, which are worth looking through. Citizen Kane: Orson Welles 1941 Arguably the greatest film ever made and often features at the top of film critic and film historian lists. Welles is also regarded as one the greatest filmmakers and in this film: he directed, wrote and starred. It pioneered numerous film making techniques and is oft parodied, it is one of the best. It’s a Wonderful Life: Frank Capra, 1946 One of my personal favourite films and one I watch every Christmas. It’s a Wonderful Life is another film which often appears high on lists of greatest films, it is a genuinely happy and uplifting film without being too sweet. James Stewart is one of the best actors of his generation and this is one of his strongest performances. Casablanca: Michael Curtiz, 1942 This is a masterclass in storytelling, staring Humphrey Bogart and Ingrid Bergman. It probably has some of the most memorable lines of dialogue for its time including, ‘here’s looking at you’ and ‘of all the gin joints in all the towns in all the world, she walks into mine’. -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
PDF Download Buster Keaton : the Persistence of Comedy Ebook Free
BUSTER KEATON : THE PERSISTENCE OF COMEDY PDF, EPUB, EBOOK Imogen Sara Smith | 284 pages | 24 Nov 2013 | Createspace Independent Publishing Platform | 9781494285593 | English | none Buster Keaton : The Persistence of Comedy PDF Book For the businessmen who were to make the final decision, one fact loomed above all others: features made more money. What about when the door hits him and he walks up and down holding his face? She has written on topics ranging from photography and painting to cinema history. Schenck Director: Edward F. The best book on Keaton in print-- and I've read most of them. Options as a Strategic Investment by Lawrence G. Dark Passages Hotel Noir From the squalid to the generic, cheap hotels serve as a quintessential habitat for the lonely, transitory people in crime cinema. Opposing qualities of irony and sweetness, logic and absurdity, passion and impassiveness don't just coexist in Keaton's films and character, they are fused so completely that it is impossible to see where one ends and the other begins. He briefly launches into an Erich von Stroheim impression during one of these scenes. Trade Paperback Books. Subscribe today. Yes it's magic but it's not often a good biography because it can be fawning, obsequious or just plain sickening. In addition, the two codirected The Rough House , a comedy short in which they also starred. Show More Show Less. Please refer to the appropriate style manual or other sources if you have any questions. Hart and, well, I am a bit annoyed. At least, this is how it has appeared to scholars. -
The Last Days of Buster Keaton John C. Tibbetts
Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies. -
Forgotten Film. Teaching Notes
FORGOTTEN FILM FROM BEGINNINGS TO “TALKIES ” TEACHING NOTES UNIT 1 FORGOTTEN FILM: FROM BEGINNINGS TO "TALKIES" de Rosa Maria Andrés Blanch està subjecta a una llicència de Reconeixement-NoComercial-SenseObraDerivada 3.0 No adaptada de Creative Commons http://creativecommons.org/licenses/by-nc-nd/3.0/ TOPIC: FORGOTTEN FILM. FROM BEGINNINGS TO “TALKIES” UNIT 1: PRECINEMA INTRODUCTION Timing :1h INTRODUCTION AIMS: Predicting and activating prior knowledge about Cinema and English language. UNIT 1. ACTIVITY 1. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs to compare and share information. Student’s Workbook • There is no need to correct it. Page 2 INTRODUCTION UNIT 1. ACTIVITY 2. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs. • Students ask their partners how often they go to the cinema. • ANSWER KEY: I go to the never He/She goes cinema a week to the once I go a month cinema twice a year Student’s Workbook three Page 3 a week to the four He/She goes times a month cinema five a year more than five • Ask the students to read answers in plenary. • Correct students spelling and write answers on the board. Rosa Maria Andrés Blanch 2011 IES VIlatzara 1 FORGOTTEN FILM FROM BEGINNINGS TO “TALKIES ” TEACHING NOTES UNIT 1 INTRODUCTION UNIT 1. ACTIVITY 3. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs to compare and share information. • WORDSEARCH. There are 10 words related to cinema. • ANSWER KEY R T F G W S M Q S A R V D G R H D P I O J G F I X S A D I F G H V J K S C A M E R A S G C I P U Student’s Workbook V N E Z E S V B N L E A Page 4 B I F H C J U Y P L E L N M R S T O R Y F U B E Power Point Y A N S O A Z X F S V F UNIT1:Precinema U T B G R Q O S A I X F Slide 1: Wordsearch O I D F G E U J K O A E Slide 2: Key to L O T S C E N E O N L C wordsearch M N E G H J K W A C M S R E C O R D I N G F A J Across : cameras, story, scene, recording. -
Cinema / Art / Café
0116 242 2800 BOX OFFICE PHOENIX.ORG.UK BOOK ONLINE WHAT’S ON BOX OFFICE PHOENIX.ORG.UK MAY 2018 0116 242 2800 BAR É Available as Midweek Matinees – see p15 CINEMA / ART / CAF CINEMA / ART BOX OFFICE 0116 242 2800 FILMS SHORT PHOENIX.ORG.UK P. 12 COURSES Made possible with the support of P. 10 STAGE ON SCREEN EDIE Fri 25 May – Thu 7 Jun P. 8 Phoenix is a registered charity, No 701078 It’s been a long haul this winter, Our Film School course – an 8-week ART & with early April seeming more practical guide to filmmaking – starts on DIGITAL like late November (was more 10 May, and we also dip into the life and fog really necessary?) but finally work of Pedro Almodovar (p10). Book CULTURE online or at Box Office. FAMILY P. 6 it might be possible for us to cast FUN off our thermals and dig out our Film-wise, highlights include the T-shirts. Hurrah. ludicrously watchable Love Simon P. 4 (p13), which is garnering rave reviews With a third of the year behind us, May worldwide; Ian McEwan adaptation COMING NEXT MONTH brings with it many delights – warbling On Chesil Beach (p16) starring Saoirse warblers, bumbling bees, half-term hols… Ronan; gripping psychological thriller and the Spark Festival, when we open our Beast (p14), which is causing a storm on digital playground filled with free creative the international festival circuit; and the technology treats for families (p4). sublime My Golden Days (p16) – a true SOLO: A STAR WARS STORY We’re exploring artificial intelligence at the Gallic gem. -
Films to Be Shown Thursday Evenings During the Summer
THE MUSEUM OF MODERN ART No 6 H WEST 53 STREET. NEW YORK 19, N. Y. For Release TELEPHONE: CIICLI 5-8900 Sunday, June 5; I960 A series of popular film favorites will be shown Thursday evenings during the simmer at the Museum of Modern Art, 11 Wast 53 Street. Beginning June 9, a different film will he on view in the auditorium each week at 8 pm, exeept for the two parts of Leni Riefenstahlfs Olympia, each of which will be shown twice. The entire Museum will remain open Thursdays until 10 pm; the regular admission of 95 cents for adults and 25 cents for children under 16 includes a ticket to the film. The Taming of the Shrew (1929), with Mary Pickford and Douglas Fairbanks, M »•• P •» • —«MW II —- I liH »». II —II •Willi Illl I HI * ' scheduled for June 9, will be followed on June 16 with One A.M. (1916), with Charles Chaplin, and The Kid (1921), with Chaplin and Jackie Coogan; June 23, Blood and Sand (1922) with Rudolph Valentino; June 30, The Mark of Zorro (1920) with Douglas Fairbanks; July 7> Easy Street (1917) with Chaplin, and Our Hospitality (1923) with Buster Keaton; July ik, The Passion of Joan of Arc (1928) with Mile. Falconetti; July 21, Flesh and the Devil (1927) with Greta Garbo and John Gilbert; July 28, Swing Time (1936) with Fred Astaire and Ginger Rogers; August k, Casablanca (19^2) with Ingrid Bergman and Humphrey Bogart; August 11, Nothing Sacred (1937) with Carole Lombard and Fredric March; August 18, She Done Him Wrong (1933) with Mae West and Cary Grant, and N. -
1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism
Notes 1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism 1. This speech has often been erroneously quoted (not least by Adam Curtis in his 2002 documentary The Century of the Self ) as ‘You have taken over the job of creating desire and transformed people into constantly moving happi- ness machines’ – a tremendously resonant phrase, but not one which actually appears in the text of Hoover’s speech. Spencer Howard of the Herbert Hoover Presidential Library attributes the corrupted version to a mis-transcription several decades later. 2. The title of his 1947 essay. His key writings in the 1920s were Crystallizing Public Opinion (1923) and Propaganda (1928). 3. Of course, not all responded sympathetically to the film’s vicious racist message. The NAACP mounted a particularly effective campaign against the film, which was banned in several states and sparked mass protests in others. For the full story see Melvyn Stoke, D.W. Griffith’s ‘The Birth a Nation’, Oxford: Oxford University Press, 2008. 4. CPI titles made in 1917/18 include America’s Answer, Under Four Flags and Pershing’s Crusaders – distributors who wanted the new Fairbanks or Pickford picture would be forced to take a CPI release as well. 2 A Convention of Crazy Bugs: Mack Sennett and the US’s Immigrant Unconscious 1. The temptation, here, is to regard Sennett’s name and the Keystone brand as being broadly synonymous, but one should remember that Sennett started off, first, as an actor and then, as a director at Biograph in 1909; the Key- stone Company was set up by Adam Kessel and Charles Baumann in 1912 (Sennett was never the owner). -
Charlie Chaplin & Buster Keaton
SCIO. Revista de Filosofía, n.º 13, Noviembre de 2017, 77-96, ISSN: 1887-9853 CHARLIE CHAPLIN & BUSTER KEATON COMIC ANTIHERO EXTREMES DURING THE 1920S CHARLIE CHAPLIN Y BUSTER KEATON LOS DOS EXTREMOS DEL ANTIHÉROE CÓMICO DURANTE LOS AÑOS VEINTE Wes Gehringa Fechas de recepción y aceptación: 3 de abril de 2017, 13 de septiembre de 2017 In pantomime, strolling players use incomprehensible lan- guage... not for what it means but for the sake of life. [writer, actor, director Leon] Chancerel is quite right to insist upon the importance of mime. The body in the theatre... (Camus, 1962, p. 199). Abstract: The essay is a revisionist look at James Agee’s famous article “Comedy’s Greatest Era” –keying on Buster Keaton and Charlie Chaplin– ‘the comedy auteurs’ of the 1920s. However, while Chaplin was the giant of the era, period literature showcases that Keaton was a popular but more cult-like figure. (See my forthcoming book: Buster Keaton in his own time, McFarland Press). However, Keaton is now considered on a par with Chaplin. While the inspired comedy of Chaplin will be forever timeless, Keaton now seems to speak to today. At least a Wes D. Gehring is Ball State University’s “Distinguished Professor of Film”, Muncie, Indiana, USA. He is also the Associate Media Editor of USA TODAY Magazine for which he also writes the col- umn “Reel World”. He is the author of 36 books, including award-winning biographies of James Dean, Steve McQueen, Robert Wise, Red Skelton, and Charlie Chaplin. Correspondence: 3754 North Lakeside Drive, Muncie. Indiana 47304, United Sate of America. -
Silent Horror Cinema: 1890-1932 / Art 497.002 Fall 2011 Credits: 3
SFA School of Art Silent Horror Cinema: 1890-1932 / Art 497.002 Fall 2011 Credits: 3 Instructor: Ron J. King Course Time & Location: 2:00-5:00 F /Rm. #106 Office: Art Shop / Upper Bldg. Office Hours: 8-5 Shop / M-F Office Phone: 468-4416 Class Web Blog: www.nitratehorrors.blogspot.com Email: [email protected] Textbook: "Chronicles of Terror: Silent Screams" Steve Haberman, Luminary Press, ISBN #: 1-887664-39-4 Prerequisites: I. Course Description: This lecture course is an introductory overview of the development of the horror film in modern cinema. We will trace it's roots through it's earliest beginnings, analyzing the artistic, social and political ramifications of the silent era of "golden age cinema", up through the earliest sound-based efforts of the "talkie" motion picture. Students will be given information that links many of the surrounding conditions that contributed to what we consider today to be a viable genre of film that once began as the "genre-that-never-existed". The goal of this course is to pique an interest in not only the historical, artistic and literate merits of a subject which students can relate to, but to create an understanding of the conditions surrounding the subject that will then offer a larger “world view”. By understanding the bigger picture through interconnections with the art movements that ran parallel to the phenomenon of early cinema, students can start to investigate and question the many related subjects and conditions that effected the silent film genre. II. Intended Learning Outcomes/Goals/Objectives (Program/Student Learning Outcomes): We will study, through lecture, interaction and viewing of the films themselves, what established the notions of the horror film and what possible explanations may exist as to why this genre came into being, thus influencing our modern perceptions of not only cinema, but society and our perceptions of reality.