Complete Documentaries Activities Guide
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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Tisch School of the Arts
18 Visible TISCH SCHOOL New York University EOFvidence THE ARTS August 11-14, 2011 NEW YORK, WELCOME EVER VIGILANT, IS THE CITY THAT never sleeps, a perfect setting for an international TO YOU ALL! conference on documentary film. We extend our thanks to Tisch School of the Arts, Cinema Studies Pro- WITHIN THE BROADER CONTEXT fessor, and Visible Evidence 18 Conference Director, Jon- of our Moving Image Archiving and Preservation Program athan Kahana for his energetic efforts to bring the confer- and Certificate Program in Culture and Media, the De- ence to the Big Apple. Professor Kahana has deployed his superb organizational skills to assemble an impressive set of partment of Cinema Studies at NYU is committed to sponsoring institutions and panelists over the four days of the developing both pedagogy and practice in the field conference and we are grateful to him and the legion of vol- of documentary. The fact that this year we are unteers and participating institutions who made hosting Visible Evidence 18 is a demonstra- this event possible. The Visible Evidence 18 Con- ference is a bittersweet occasion: we celebrate a tion of that commitment as well as a validation, great filmmaker, the “dean” of documentary film, as Jonathan Kahana writes, of documentary film-mak- George Stoney, Professor Emeritus in the Tisch ers’ long love affair with New York. I want to congratulate School’s Kanbar Institute of Film and Television, Professor Kahana for putting together this stellar conference and we pay tribute to our school’s beloved and renowned theorist and historian, the late Rob- and mobilizing such a wide range of institutional collabora- ert Sklar, Professor Emeritus in the department tors across the city. -
Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
A Pilot Method for Movie Selection and Initial Results
Movies for use in Public Health Training: A Pilot Method for Movie Selection and Initial Results Nick Wilson,* Rachael Cowie, Michael G Baker, Philippa Howden-Chapman Department of Public Health, University of Otago, Wellington, New Zealand October 2009 *Correspondence to: Dr Nick Wilson Department of Public Health, University of Otago, Wellington PO Box 7343 Wellington South, New Zealand. Phone (64)-4-385 5541 ext. 6469 Fax (64)-4-389 5319 Email: [email protected] Abstract Background: A method for systematically identifying, selecting, and ranking high quality movies for public health training does not exist. We therefore aimed to pilot a method and use it to generate an initial selection of suitable movies in a range of public health categories. Methods: To identify possible movies, systematic searches were undertaken of two large movie databases. If meeting minimal criteria for entertainment value (using public and critic ratings), the movies were then systematically evaluated for training suitability. Results: Using the search strategy we developed, it appeared feasible to systematically identify movies of potential educational value for public health training. Out of a total of 29 movies selected for viewing and more detailed assessment, the top ranked 15 were selected as having reasonable potential for training. There was a high correlation between scores of the movie assessors (Spearman’s rho = 0.80, p<0.00001). Also 75% of the top 15 movies were found to be referred to in Medline-indexed publications. Conclusion: This pilot study was able to develop a method for systematically identifying and selecting movies that could potentially be used for public health training. -
DOCUMENTARY FILMS Page 1 of 10
DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966)) -
Barbie Bake-Off and Risk Or Role the Apprentice Model? Documentary Pokémon Go Shorts
FEBRUARY 2017 ISSUE 59 POST-TRUTH RESEARCHING THE PAST BARBIE BAKE-OFF AND RISK OR ROLE THE APPRENTICE MODEL? DOCUMENTARY POKÉMON GO SHORTS MM59_cover_4_feb.indd 1 06/02/2017 14:00 Contents 04 Making the Most of MediaMag MediaMagazine is published by the English and Media 06 What’s the Truth in a Centre, a non-profit making Post-fact World? organisation. The Centre Nick Lacey explores the role publishes a wide range of of misinformation in recent classroom materials and electoral campaigns, and runs courses for teachers. asks who is responsible for If you’re studying English 06 gate-keeping online news. at A Level, look out for emagazine, also published 10 NW and the Image by the Centre. System at Work in the World Andrew McCallum explores the complexities of image and identify in the BBC television 30 16 adaptation of Zadie Smith’s acclaimed novel, NW. 16 Operation Julie: Researching the Past Screenwriter Mike Hobbs describes the challenges of researching a script for a sensational crime story forty years after the event. 20 20 Bun Fight: How The BBC The English and Media Centre 18 Compton Terrace Lost Bake Off to Channel 4 London N1 2UN and Why it Matters Telephone: 020 7359 8080 Jonathan Nunns examines Fax: 020 7354 0133 why the acquisition of Bake Email for subscription enquiries: Off may be less than a bun [email protected] in the oven for Channel 4. 25 Mirror, Mirror, on the Editor: Jenny Grahame Wall… Mark Ramey introduces Copy-editing: some of the big questions we Andrew McCallum should be asking about the Subscriptions manager: nature of documentary film Bev St Hill 10 and its relationship to reality. -
The 21St Hamptons International Film Festival Announces Southampton
THE 21ST HAMPTONS INTERNATIONAL FILM FESTIVAL ANNOUNCES SOUTHAMPTON OPENING, SATURDAY’S CENTERPIECE FILM AUGUST: OSAGE COUNTY, SPOTLIGHT AND WORLD CINEMA FILMS INCLUDING LABOR DAY, HER, THE PAST AND MANDELA: LONG WALK TO FREEDOM WILL FORTE TO JOIN BRUCE DERN IN “A CONVERSATION WITH…” MODERATED BY NEW YORK FILM CRITICS CIRCLE CHAIRMAN JOSHUA ROTHKOPF Among those expected to attend the Festival are: Anna Paquin, Bruce Dern, Ralph Fiennes, Renee Zellweger, Dakota Fanning, David Duchovny, Helena Bonham Carter, Edgar Wright, Kevin Connolly, Will Forte, Timothy Hutton, Amy Ryan, Richard Curtis, Adepero Oduye, Brie Larson, Dane DeHaan, David Oyelowo, Jonathan Franzen, Paul Dano, Ralph Macchio, Richard Curtis, Scott Haze, Spike Jonze and Joe Wright. East Hampton, NY (September 24, 2013) -The Hamptons International Film Festival (HIFF) is thrilled to announce that Director Richard Curtis' ABOUT TIME will be the Southampton opener on Friday, October 11th and that Saturday's Centerpiece Film is AUGUST: OSAGE COUNTY directed by John Wells. As previously announced, KILL YOUR DARLINGS will open the Festival on October 10th; 12 YEARS A SLAVE will close the Festival; and NEBRASKA is the Sunday Centerpiece. The Spotlight films include: BREATHE IN, FREE RIDE, HER, LABOR DAY, LOUDER THAN WORDS, MANDELA: LONG WALK TO FREEDOM, THE PAST and CAPITAL.This year the festival will pay special tribute to Oscar Award winning director Costa-Gavras before the screening of his latest film CAPITAL. The Festival is proud to have the World Premiere of AMERICAN MASTERS – MARVIN HAMLISCH: WHAT HE DID FOR LOVE as well as the U.S Premiere of Oscar Winner Alex Gibney’s latest doc THE ARMSTRONG LIE about Lance Armstrong. -
A Communication Study of Contemporary Documentary Film
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 Art and Persuasion: A Communication Study of Contemporary Documentary Film Lauren Elizabeth Freeman Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Freeman, Lauren Elizabeth, "Art and Persuasion: A Communication Study of Contemporary Documentary Film" (2007). Honors Theses. 2004. https://egrove.olemiss.edu/hon_thesis/2004 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. ART AND PERSUASION: A COMMUNICATION STUDY OF CONTEMPORARY DOCUMENTARY FILM By Lauren Elizabeth Freeman A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2007 Approved by , , L Ad^or: Professor Joe Atkins Readei1p^fessoLPmch£ll££maiiuel,PhD Reader: Professor Charles Gates, PhD ©2007 Lauren Elizabeth Freeman ALL RIGHTS RESRERVED ACKNOWLEDGEMENTS The author of this paper incurs many debts of gratitude throughout the long and tedious process of completing this honors senior thesis. A special expression of gratitude goes to my thesis adviser, Professor Joseph Atkins, for his supportive direction throughout the preparation of this research project. Sincere appreciation is extended to niy thesis readers. Dr. Michelle Emanuel and Dr. Charles Gates, and to those filmmakers who shared their time and thoughts with me on documentary filmmaking. I extend my heartfelt gratitude to my family and fnends for their continued support and encouragement. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Maurice Proulx
01/10/13 The Clergy and the Origins of Quebec Cinema The Clergy and the Origins of Quebec Cinema: Fathers Albert Tessier and Maurice Proulx par Poirier, Christian A handful of priests were among the first people in Quebec to use a movie camera. They were also among the first to grasp the cultural significance of cinema. Two individuals are particularly significant in this regard: Fathers Albert Tessier and Maurice Proulx. Today they are widely recognized as pioneers of Quebec cinema arts. Since 2000, Quebec cinema has been experiencing renewed popularity. Nevertheless, the key role played by the clergy in the development of a cinematographic and cultural tradition before the Quiet Revolution of the 1960s has not been fully appreciated, even though they managed nothing less than a collective heritage acquisition of cinema during a period dominated by foreign productions. After initially opposing the cinema-considering it an "imported" invention capable of corrupting French-Canadian youth- the clergy gradually began to promote the showing of movies in parish halls, church basements, schools, colleges and convents. It came to see film as yet another tool for conveying Catholic values. Article disponible en français : Clergé et patrimoine cinématographique québécois : les prêtres Albert Tessier et Maurice Proulx A Society on the Threshold between the Traditional Past and the Modern World During the first half of the 20th century, Quebec society underwent a process of gradual change: it became more industrialized, urbanized and economically diverse, while modern ideas such as liberalism or secularism increasingly became accepted as credible alternatives. Nevertheless, for the political and intellectual elite, the values associated with traditions, Catholicism, and rural life were still the of the French-Canadian people's identity. -
ALDO SIGNORETTI Hair and Wig Designer Fluent in Italian and English
ALDO SIGNORETTI Hair and Wig Designer Fluent in Italian and English FILM AND TELEVISION THE YOUNG POPE Wig/Hair Designer Wildside, Indigo Film Director: Paolo Sorrentino ZOOLANDER 2 Department Head of Hair / Hair Stylist & Wig Designer Paramount Director: Ben Stiller CAESAR Department Head of Hair and Make-Up Kallope Films Director: Tiago Mesquita Cast: Sean Bean, Isaac Hempstead Wright, Mackenzie Crook THE EARLY YEARS Wig/Hair Designer Indigo Film Director: Paolo Sorrentino Cast: Rachel Weisz, Michael Cane, Jane Fonda HERCULES: THE THRACIAN WARS Wig/Hair Designer Film 44, MGM, Paramount, Radical Pictures Director: Brett Ratner Cast: Dwayne Johnson, Ian Mcshane, John Hurt LA GRANDE BELEZZA (THE GREAT BEAUTY) Wig/Hair Designer Indigo Film, Medusa Film, Babe Film, Pathé Director: Paolo Sorrentino Cast: Toni Servillo, Carlo Verdone, Sabrina Ferilli David di Donatello Award - Won - Best Hair Design/Styling BORGIA (SERIES 1,2 & 3) Co-Designer: Wig/Hair ETIC Films Directors: Philippe Haim, Oliver Hirschbiegel CONAN THE BARBARIAN Wig/Hair Designer Lionsgate Director: Marcus Nispel WE BELIEVED Hair Designer Palomar Director: Mario Martone David di Donatello Award - Won - Best Hair Design/Styling VEDA – ATATÜRK Wig/Hair Designer Kamera Film Director: Zülfü Livaneli IO, DON GIOVANNI Wig/Hair Designer Edelweiss Cinematografica, Lucky Red Director: Carlos Saura IL DIVO Wig/Hair Designer Indigo Film, Lucky Red Director: Paulo Sorrentino Academy Award - Nominee - Best Achievement In Make-Up David di Donatello Award - Best Hair Design/Styling 2061 Wig/Hair -
Truth in Cinema
Truth in Cinema http://web.mit.edu/candis/www/callison_truth_cinema.htm Truth in Cinema Comparing Direct Cinema and Cinema Verité Candis Callison Documenting Culture, CMS 917 November 14, 2000 Like most forms of art and media, film reflects the eternal human search for truth. Dziga Vertov was perhaps the first to fully articulate this search in “Man with a Movie Camera.” Many years later he was finally followed by the likes of Jean Rouch, Richard Leacock and Fred Wiseman who, though more provocative and technologically advanced, sought to bring reality and truth to film. Edgar Morin describes it best when, in reference to The Chronicle of a Summer , he said he was trying to get past the “Sunday best” portrayed on newscasts to capture the “authenticity of life as it is lived” 1. Both direct cinema and cinema verité hold this principle in common – as I see it, the proponents of each were trying to lift the veneer that existed between audience and subject or actor. In a mediated space like film, the veneer may never completely vanish, but new techniques such as taking the camera off the tripod, using sync sound that allowed people to speak and be heard, and engaging tools of inquiry despite controversy were and remain giant leaps forward in the quest for filmic truth. Though much about these movements grew directly out of technological developments, they also grew out of the social changes that were taking place in the 1960s. According to documentary historian Erik Barnouw, both direct cinema and cinema verité had a distinct democratizing effect by putting real people in front of the camera and revealing aspects of life never before captured on film.