Hagop Kevorkian Center 2015/2016 Review
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Bollywood's Periphery: Child Stars and Representations of Childhood in Hindi Films
Shakuntala Banaji Bollywood's periphery: child stars and representations of childhood in Hindi films Book section Original citation: Originally published in Bollywood's periphery: child stars and representations of childhood in Hindi films. In: O'Connor, Jane and Mercer, John, (eds.) Childhood and Celebrity. Routledge, London, UK. ISBN 9781138855274 © 2016 The Author This version available at: http://eprints.lse.ac.uk/65482/ Available in LSE Research Online: February 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Title: Bollywood's periphery: child stars and representations of childhood in Hindi films Author: Shakuntala Banaji, Introduction The three research questions which I explore in this chapter ask: How do international accounts of children’s role on screen and child performance -
Directory of Seminars, Speakers, & Topics
Columbia University | THE UNIVERSITY SEMINARS 2016 2015DIRECTORY OF SEMINARS, SPEAKERS, & TOPICS Contents Introduction . 4 History of the University Seminars . 6 Annual Report . 8 Leonard Hastings Schoff Memorial Lectures Series . 10 Schoff and Warner Publication Awards . 13 Digital Archive Launch . 16 Tannenbaum-Warner Award and Lecture . .. 17 Book Launch and Reception: Plots . 21 2015–2016 Seminar Conferences: Women Mobilizing Memory: Collaboration and Co-Resistance . 22 Joseph Mitchell and the City: A Conversation with Thomas Kunkel And Gay Talese . 26 Alberto Burri: A Symposium at the Italian Academy of Columbia University . 27 “Doing” Shakespeare: The Plays in the Theatre . 28 The Politics of Memory: Victimization, Violence, and Contested Memories of the Past . 30 70TH Anniversary Conference on the History of the Seminar in the Renaissance . .. 40 Designing for Life And Death: Sustainable Disposition and Spaces Of Rememberance in the 21ST Century Metropolis . 41 Calling All Content Providers: Authors in the Brave New Worlds of Scholarly Communication . 46 104TH Meeting of the Society of Experimental Psychologists . 47 From Ebola to Zika: Difficulties of Present and Emerging Infectious Diseases . 50 The Quantitative Eighteenth Century: A Symposium . 51 Appetitive Behavior Festchrift: A Symposium Honoring Tony Sclafani and Karen Ackroff . 52 Indigenous Peoples’ Rights and Unreported Struggles: Conflict and Peace . 55 The Power to Move . 59 2015– 2016 Seminars . 60 Index of Seminars . 160 Directory of Seminars, Speakers, & Topics 2015–2016 3 ADVISORY COMMITTEE 2015–2016 Robert E. Remez, Chair Professor of Psychology, Barnard College George Andreopoulos Professor, Political Science and Criminal Justice CUNY Graduate School and University Center Susan Boynton Professor of Music, Columbia University Jennifer Crewe President and Director, Columbia University Press Kenneth T. -
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Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents -
Samuel Khachikian and the Rise and Fall of Iranian Genre Films
Samuel Khachikian and the Rise and Fall of Iranian Genre Films he films of Samuel Khachikian have, as the director’s name suggests, a strange ambiguity. One of the father figures of Iranian cinema, Khachikian was for 40 years synony- mous with popular genre films inspired by Hollywood and enjoyed by big audiences. His formal innovations and fluid handling of genres not only expanded the pos- sibilities of cinema in Iran, but reflected the specific social and political tensions of a country building to revolution. Ehsan Khoshbakht Hollywood style in modern Tehran In the 1950s and ’60s, the premieres of Khachikian’s films would cause traffic jams. Newly built cinemas opened with the latest Khachikian, who was dubbed the “Iranian Hitch- cock,” a title he disliked. Khachikian’s films provide us with images of a bygone era in Iran: Cadillacs roaring through the streets, women in skirts parading to the next house party, bars open until the small hours of the morning, dancers grooving to the swing of a modernized, post-coup Tehran—all soon to collapse into revolution. The films are part documentary, part product of Khachikian’s fantasy of an Iran that has successfully absorbed Hollywood style. The films were unique in the way in which they could almost be passed off as foreign productions. His classic Mid- night Terror (1961) was reportedly bought and dubbed by the Italians; with names changed, it’s as if the story had been set in Milan. Fully aware of the deep contradictions of this encounter between cultures, however, the films manifest a sense of unease. -
Festival Centerpiece Films
50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E. -
Mirrors of Modernization: the American Reflection in Turkey
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Mirrors of Modernization: The American Reflection in urkT ey Begum Adalet University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the Political Science Commons Recommended Citation Adalet, Begum, "Mirrors of Modernization: The American Reflection in urkT ey" (2014). Publicly Accessible Penn Dissertations. 1186. https://repository.upenn.edu/edissertations/1186 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1186 For more information, please contact [email protected]. Mirrors of Modernization: The American Reflection in urkT ey Abstract This project documents otherwise neglected dimensions entailed in the assemblage and implementations of political theories, namely their fabrication through encounters with their material, local, and affective constituents. Rather than emanating from the West and migrating to their venues of application, social scientific theories are fashioned in particular sites where political relations can be staged and worked upon. Such was the case with modernization theory, which prevailed in official and academic circles in the United States during the early phases of the Cold War. The theory bore its imprint on a series of developmental and infrastructural projects in Turkey, the beneficiary of Marshall Plan funds and academic exchange programs and one of the theory's most important models. The manuscript scrutinizes the corresponding sites of elaboration for the key indices of modernization: the capacity for empathy, mobility, and hospitality. In the case of Turkey the sites included survey research, the implementation of a highway network, and the expansion of the tourism industry through landmarks such as the Istanbul Hilton Hotel. -
In New Iranian Cinema
UNIVERSITEIT VAN AMSTERDAM DEPARTMENT OF MEDIA STUDIES MASTER THESIS RETHINKING THE ’TYPICAL’ IN NEW IRANIAN CINEMA A STUDY ON (FEMALE) REPRESENTATION AND LOCATION IN JAFAR PANAHI’S WORK Master in Film and Media Studies Thesis supervisor: Dr. Gerwin van der Pol 2nd reader: Dr. Emiel Martens Date of Completion: 20th May 2019 i ABSTRACT Contemporary Iranian cinema has been acknowledged and praised by film critics, festivals and audiences worldwide. The recent international acclaim that Iranian films have received since the late 1980s, and particularly through the 1990s, show the significance that the films’ exhibition and reception outside Iran has played in the transformation of cinema in Iran, developing certain themes and aesthetics that have become known to be ‘typical’ Iranian and that are the focus of this paper. This survey explores Iranian film culture through the lens of Jafar Panahi and the poetics of his work. Panahi’ films, in past and present, have won numerous prizes within the international festival circuit and have been interpreted by audiences and critics around the world. Although officially banned from his profession since 2010, the Iranian filmmaker has found its ‘own’ creative ways to circumvent the limitations of censorship and express its nation’s social and political issues on screen. After providing a brief historical framework of the history of Iranian cinema since the 1990s, the survey will look at Panahi’s work within two categories. Panahi’s first three feature films will be explored under the aspects of Iranian children’s films, self-reflexivity and female representation(s). With regards to Panahi’s ‘exilic’ position and his current ban on filmmaking, the survey will analyze one of Panahi’s recent self-portrait works to exemplify the filmmaker use of ‘accented’ characteristics in terms of authorship and the meaning of location (open and closed spaces). -
Latvian Neorealism in the Films of Laila Pakalniņa
BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa KLĀRA BRŪVERIS, University of New South Wales, Australia; email: [email protected] 38 DOI: 10.1515/bsmr-2017-0003 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This paper examines the development of neorealist tendencies in the oeuvre of contemporary Latvian filmmaker Laila Pakalnina. Her work is positioned within the global dissemination of cinematic neorealism, and its local manifestations, which, it is argued, develop in specific national contexts in reaction to dramatic societal and political changes. Pakalniņa’s films are examined as a documentation of the change from a communist satellite state to an independent democratic, capitalist country. Heavily influenced by the Riga School of Poetic Documentary, a movement in Latvian cinema that adhered to the conventions of poetic documentary filmmaking, the article analyses how her films replicate and further develop the stylistic and aesthetic devices of the Italian neorealists and the succeeding cinematic new waves. In doing so the argument is put forth that Pakalnina has developed neorealism Latvian style. Due to their size, small nations do not pos- grassroots globalisation is also occurring in sess the economic or political capital to Latvia. More specifically, the Latvian direc- participate in dominant networks of globali- tor Laila Pakalniņa is participating in an sation, which serve the interests of larger, alternative network of cinema globalisation wealthier nations that use global networks by re-appropriating the stylistic and aes- for political or financial gain (Hjort, Petrie thetic tropes of Italian neorealism, which 2007: 8). -
A Case of Democratic Regression
Volume 6 │ Issue 1 │ 2021 The Republic of Turkey: A Case of Democratic Regression Kristen Ziccarelli Christopher Newport University Virginia Zeta Chapter Vol. 6(1), 2021 Title: The Republic of Turkey: A Case of Democratic Regression DOI: 10.21081/ax0286 ISSN: 2381-800X Keywords: democracy, Turkey, government, freedom This work is licensed under a Creative Commons Attribution 4.0 International License. Author contact information is available from [email protected] or [email protected] Aletheia—The Alpha Chi Journal of Undergraduate Scholarship • This publication is an online, peer-reviewed, interdisciplinary undergraduate journal, whose mission is to promote high quality research and scholarship among undergraduates by showcasing exemplary work. • Submissions can be in any basic or applied field of study, including the physical and life sciences, the social sciences, the humanities, education, engineering, and the arts. • Publication in Aletheia will recognize students who excel academically and foster mentor/mentee relationships between faculty and students. • In keeping with the strong tradition of student involvement in all levels of Alpha Chi, the journal will also provide a forum for students to become actively involved in the writing, peer review, and publication process. • More information can be found at www.alphachihonor.org/aletheia. Questions to the editors may be directed to [email protected] or [email protected]. Alpha Chi National College Honor Society invites to membership juniors, seniors, and graduate students from all disciplines in the top ten percent of their classes. Active on nearly 300 campuses nationwide, chapters induct approximately 10,000 students annually. Since the Society’s founding in 1922, Alpha Chi members have dedicated themselves to “making scholarship effective for good.” Alpha Chi is a member in good standing of the Association of College Honor Societies, the only national accrediting body for collegiate honor societies. -
Mostly Modern Miniatures: Classical Persian Painting in the Early Twentieth Century
classical persian painting in the early twentieth century 359 MARIANNA SHREVE SIMPSON MOSTLY MODERN MINIATURES: CLASSICAL PERSIAN PAINTING IN THE EARLY TWENTIETH CENTURY Throughout his various writings on Persian painting Bek Khur¸s¸nº or Tur¸basº Bek Khur¸s¸nº, seems to have published from the mid-1990s onwards, Oleg Grabar honed to a fi ne art the practice of creative reuse and has explored the place of the medium in traditional replication. Indeed, the quality of his production, Persian culture and expounded on its historiography, represented by paintings in several U.S. collections including the role played by private collections, muse- (including one on Professor Grabar’s very doorstep ums, and exhibitions in furthering public appreciation and another not far down the road), seems to war- and scholarly study of Persian miniatures.1 On the rant designating this seemingly little-known painter whole, his investigations have involved works created as a modern master of classical Persian painting. His in Iran and neighboring regions from the fourteenth oeuvre also prompts reconsideration of notions of through the seventeenth century, including some of authenticity and originality within this venerable art the most familiar and beloved examples within the form—issues that Oleg Grabar, even while largely canonical corpus of manuscript illustrations and min- eschewing the practice of connoisseurship himself, iature paintings, such as those in the celebrated 1396 recognizes as a “great and honorable tradition within Dºv¸n of Khwaju Kirmani, the 1488 Bust¸n of Sa{di, and the history of art.”5 the ca. 1525–27 Dºv¸n of Hafi z. -
The Emamzadeh Yahya at Varamin: a Present History of a Living Shrine, 2018–20
Journal of Material Cultures in the Muslim World 1 (2020) 120–149 brill.com/mcmw The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018–20 Keelan Overton Independent Scholar, Santa Barbara, CA, USA [email protected] Kimia Maleki Graduate Student, History of Art, Johns Hopkins University, Baltimore, MD, USA [email protected] Abstract The Emamzadeh Yahya at Varamin, a tomb-shrine located south of Tehran, is well known for supplying global museums with iconic examples of Ilkhanid-period luster tilework. After provid- ing a historiography of the site, including its plunder in the late nineteenth century, we explore its current (2018–20) “life” in order to illuminate the many ways that it can be accessed, used, perceived, and packaged by a wide range of local, national, and global stakeholders. Merging past and present history, art history and amateur anthropology, and the academic, personal, and popular voice, this article explores the Emamzadeh Yahya’s delicate and active existence between historical monument, museum object, sacred space, and cultural heritage. Keywords Emamzadeh Yahya (Imamzada Yahya) – Varamin (Veramin, Waramin) – Iran – Ilkhanid – shrine – luster – tilework – mihrab – museums – present history – COVID-19 The Emamzadeh Yahya at Varamin (35.31614, 51.648336) poses a number of art histori- cal conundrums. Despite the fact that it is located just 35 miles south of Tehran and its Ilkhanid period (1256–1353) luster tilework enjoys endless visibility online, in print, and in museums (fig. 1), the shrine itself remains relatively anonymous beyond its immedi- ate demographic and specialist research. In the age of ongoing renovations of Islamic art galleries, we expect to see its famous tiles redisplayed and reevaluated, but the com- plex’s history and interpretation tend to end at its moment of rupture in the late nine- teenth century, when its tilework was systematically removed and dispersed across the globe. -
Curriculum Vitae Susan Eva Eckstein
July 2010 CURRICULUM VITAE SUSAN EVA ECKSTEIN OFFICE ADDRESS: Department of Sociology 100 Cummington St. Boston University Boston, MA 02215 PHONE:(617) 353-2591 FAX: (617) 353-4837 EMAIL: [email protected] EDUCATION Ph.D., Sociology, Columbia University Institute for Latin American Studies. B.A., Sociology, Minor in Anthropology, Beloit College PROFESSIONAL EXPERIENCE 2008-present Lecturer to Professor, Department of Sociology, Boston University Professor, International Relations, Boston University 1995 Adjunct Professor of Sociology, Boston College 1989 Adjunct Professor of Political Science, Columbia University 1974 Visiting Assistant Professor of Sociology, University of California, Santa Barbara. Tutor, Social Relations Department, Harvard University RESEARCH APPOINTMENTS Boston University Affiliate, Latin American Studies Program Affiliate, Women's Studies Program Affiliate, African Studies Program Associate, Department of Political Science Affiliate, Frederick S. Pardee Center for the Study of the Longer-Range Future Associate, Global Governance and Development Program, Department of International Relations. Other Associate, David Rockefeller Center for Latin American Studies, Harvard University Honorary Research Fellow, Center for International 2 Affairs and Radcliffe Institute Research Fellow, Massachusetts Institute of Technology, Center for International Affairs; and Fletcher School of Law and Diplomacy, Tufts University Assistant to Director, Bureau of Social Science Research, Washington, D.C. Research Assistant, Columbia University with Professors Immanuel Wallerstein, Terence Hopkins, and Theodore Caplow Fieldwork 1990-present Cuba: research on post revolutionary developments and on the Cuban diaspora 2000-present Miami and Union City, NJ: research on Cuban/Cuban American transnational ties and transformations 1997-2001 Boston: research on suburban ethnicity and volunteerism 1970s & 1980s Bolivia (4 Visits): Research on outcomes of the Bolivian Revolution, including agrarian reform and the political economy.