DOCSLIB.ORG

Doment Resume

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DOMENT RESUME ED 033 929 TE 001 560 TITLE 3E-Flicks: Review of 35 Short Films. INSIITUTICN Arizona State Univ., Tempe. EPEA Inst. in Media and the Teaching of English. SFons Agency Office of Education (CHEW) , Washington, L.C. Pub Date 69 Note 64F EDRS Price ELKS Price MF-$0.50 HC-$3.20 DescriEtcrs Audiovisual Aids, Audiovisual Communication, *English Instruction, *Films, *Film Study, *Instructional Aids, Instructional Materials, Multimedia Instruction, Sound Films, *Teaching Guides, Thematic AFFrcach Abstract Comments about these short films, vritten by participants of the EELA Institute in Media and the Teaching of English, include an abstract of the filmos main points, a Flot synopsis, auropriate age level et the audience, strengths and veakenesses of the film, possible unit themes cr topics to be developed around the filv, a list of books and additional films that have parallel themes, and discussion questions. Also noted for each film are the running time, ccicr cr black- and -white, the distributor, and the rental fee. Cartoons, documentaries, mood pieces, animaticns, and filmed short stories are listed, but none of the films are "educational," at least not in the usual sense." (LH) @EPPINito eview of @ 3 @hort films ['Waken by the participanis of the §nsuLE.in Redia and theIReacithigof ®hglish )17 Y.S. IMMO Of 181.11 MAIM & MUM Offia* EDUCATION 11113 ROM& RAS MB MOM=EXACTLY AS KM III1* MON OR OIMAIGION °MARIAM& II. POIMS OfVal 01 OPINIONS SUM I0 1101 IMISSANY MEM WICKorna Of MCA= POSITION OR POLICY. PREFACE During the pastsummer, 16 participants in the EPMInstitute in Media the Teaching ofEnglish at Arizona and State Universityviewed and discussed35 short films. Some filmswere favorites of nearly only a few, but everyone, some were likedby all of them reinforcedmy belief that the short (and should be) film could be an important part ofevery English class in None of these films the secondary school. were educational, atleast not in the were no titles like "Visiting usual sense. There the Dusty Relicsof a Great Writer or Two," "The Way to God, for a Prayer Republicanism, and theBetter Life through "Our Friend,the Introductory Grammar," Adverbial Clause,"or "You Too Can Learn Outline."Instead, the films How to were about life, aboutpeople living in and sometimeschaotic world, about a confused people who had realproblems with solutions--exactly what no easy literature andcomposition and language be about. The films would are supposed to fascinate teachersand students,just as literature and compositionand language fascinate people whosee the life in the stuffof English class,not just the dustthat has accumulated through boredom anddisuse. Some films were about juveniledelinquency or surfing madness or creativity or lonelinessor or war or angeror the totalitarian several common society, but all had elements--each hadsomething tosay, each had a point of a personality, and eachmade no pretense view and that simple andobvious problems evitably led tosimplistic in- answers. If anything, thesefilms offered at all, justas good and great no answers literature offersno answers, only the state ofman so man can study comments about himself. These films havemuch to offer English class, forthey do involve any the students andthey should lead compassion forman. to some That is nota bad thing tosay about anything English class. we do in Enjoy thesecomments. The 16 participants and, I think, who wrote themenjoyed the films, enjoyed writingthe comments. I know they willbe usingsome of these short filmsin their classesin the coming year. It is our hopethat some of the comments willexcite or intrigue or amuse you enoughthat you consider doing thesame. may Ken Donelson Director EPDA Institute inMedia and Teaching English Arizona StateUniversity Summer, 1969. TABLE OF CONTENTS NOREASON TO STAY -------------------------- oolIb 3 ADVENiuKES OF AN * w______________ ____ 4IN 111 il 5 THE HANGMAN I WONDER WHY 10 WHY MAN CREATES --------------- 12 A CHAIRY TALE ------------------ 14 NEIGHBORS ------- enoWIMO16 BEGONE DOLL CARE 18 THETRAP -------------------------------------------------.. ---------------19 KODAK TEEN-AGE MOVIE AWARDS ------------------ 21 UNICORN IN THE GARDEN ---------------- 23 DREAM OF WILD HORSES 25 LINES: HORIZONTAL ---------------------- ------_____-__ 27 NAHANNI------------____----__--_---____--___-------_--_-----____-_-----------_---28 GUERNICA11MBI 30 poppywa ____--.6-_-____-------------____---------- ---32 GIBtr., ,-...................-....-----....-- ---............-... -...-....--......-....--- 33 MOODS, rSURFING - --__________ -_- 34 THE HAND I 35 HELP, MY SNOWMAN IS BURNING DOWN ---- ------ -- - --- 137 COLOR COLLAGE .......-.....--...-...........-------...........a---- --- --- 38 MACBETH-.......--....-...........--.......---......-... ---.....------------...... 40 RHINOCEROS INN42 YOU'RE NO GOOD----- t --.....,....-......-..-..-.--........ 44 THEPUSHER ......--..-- ....---.-.-- ...... .......---..,-....-.......-----....--------.....--....----..-... 46 OCCURRENCE AT OWL CREEK BRIDGE ------- ------------------------ ---- -- 48 CARNIVAL------------------___------_____----_____-_- 50 I'VE an THIS PROBLEM ____---_-__--_-_---------_____-----____-----_--______ 51 PASSION FOR LIFE -......--....-.--....--....---..-.--- ...-....------------....-.... --........ 52 CORRAL-------------- ------------- - - - -- ---- __--- 54 THE WEAPONS OF GORDON PARKS - ____________ - ---- -- 55 SATURDAY SYMPHONY ......- 57 THESTRINGBEAN -.....-........-.............--.....--.......-..-...-.....-.......-------.........-- ................... 58 SILENT SNOW, SECRET SNOW ...........................----...............-..--...-.....--........-.....- 60 THEHEYE OF THE BEHOLDER -------------------- ...... ------------------- 61 LIST OF FILM DISTRIBUTORS ----------- ----------------- - - - - -- 63 NO REASON TO STAY 28 minutes, blew, Contemporary Films, rental $8.00. ABSTRACT Christopher Wood stolidly marches through his last day of school in this biting,tense, and wholly biased attack on the meaningless of modern education.Not a "typical" drop- out but rather an intelligent and perceptive young man, Chris views schoolas totally irrelevant to him, his problems, and his society. His teachers cannot teach him, his parents cannot hear him, and his girlfriend cannot understand him.Ultimately, Chris rebels against rote learning, meaningless drills piledupon equally meaningless facts, and an educational system which ignores students and theirneeds, and decides that he must leave school. The film asks the questions --what is the purpose of education and what can the schools do toencourage people like Chris to remain in the school? SYNOPSIS Christopher Wood, much brighter and much better dressed than the usual student, sees his school as an agent of conformity, of regimentation, of indoctrination with no humanity or personality and withno ability to respect students or their personalities. In this last day before Chris makes his decision to leave this production factory, Chris attends two classes which justify his action--a history class and an English class. The history teacher drones endlessly and then asks a student to repeat the four reasons for the fall of the Roman Empire and the spread of Christianity in the exact order he gave the class. The English teacher finds Chris reading a poem by Dylan Thomas instead of the subject for the day, Noyes' "The Highwayman," and reprimands Chris fornot sticking to his assignment. Both teachers revel in making fun of the students.Chris fantasizes his need for power (in an institution that allows him no power) by first seeing himself as a judge condemning the history teacher to death for boring students and second imagining a Canadian Cabinet fretting over his decision to leave school.He attempts to communicate his feelings to his girlfriend, who obviously does not understand the problem.Worried by his reaction, she indicates her willingness to begin a sexual relationship and is bewildered when he rejects her overtures.He meets his mother and rapidly discovers that she is both unwilling to listen to him and unable to understand his feelings. He makes one final effort to talk by trying to visit a school counselor and discovers the counselor has little time to listen, though it is obvious that the counselor may be more interested in talking than Chris thinks. Finally, Chris flees from the school. Both the viewer and Chris are left with the feeling that the only justification for his remaining in school is economic-- Chris has no financial security without a secondary diploma. AUDIENCE Most teachers will probably not want to use the film with studentsyounger than juniors or seniors in high school. Teachers who use it with any group should be prepared to discuss it honestly or the film should not be used at all. With some planning, the discussion could be provocative and valuable for both teacher and young people, but the inexperienced or timid or nervous teacher should probably avoid this film. The film would be valuable for in-service training, and for future teachers, the film is a must. No other film I know so clearly, if sometimes so unfairly, demonstrates the problems and weaknesses of education today. -3- STRENGTHS AND WEAKNESSES The print I saw either was an attempt at extreme realism or it had a muddy sound- track since much of the first half of the film verged on the unintelligible. Still, the excellent camera work, the sensitive and believable acting, and the generally tight and economic script made up for any
Recommended publications
  • Cinema of the Dark Side Atrocity and the Ethics of Film Spectatorship

    Cinema of the Dark Side Atrocity and the Ethics of Film Spectatorship

    Cinema of the Dark Side Atrocity and the Ethics of Film Spectatorship Shohini Chaudhuri CHAUDHURI 9780748642632 PRINT.indd 1 26/09/2014 16:33 © Shohini Chaudhuri, 2014 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 4263 2 (hardback) ISBN 978 1 4744 0042 8 (paperback) ISBN 978 0 7486 9461 7 (webready PDF) ISBN 978 1 4744 0043 5 (epub) The right of Shohini Chaudhuri to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). CHAUDHURI 9780748642632 PRINT.indd 2 26/09/2014 16:33 Contents Acknowledgements iv List of Figures viii Introduction 1 1 Documenting the Dark Side: Fictional and Documentary Treatments of Torture and the ‘War On Terror’ 22 2 History Lessons: What Audiences (Could) Learn about Genocide from Historical Dramas 50 3 The Art of Disappearance: Remembering Political Violence in Argentina and Chile 84 4 Uninvited Visitors: Immigration, Detention and Deportation in Science Fiction 115 5 Architectures of Enmity: the Israeli–Palestinian Conflict through a Cinematic Lens 146 Conclusion 178 Bibliography 184 Index 197 CHAUDHURI 9780748642632 PRINT.indd 3 26/09/2014 16:33 Introduction n the science fiction film Children of Men (2006), set in a future dystopian IBritain, a propaganda film plays on a TV screen on a train.
  • Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr

    Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr

    humphrey bogart's Sahara propaganda, cinema and the american character in world war ii theodore kornweibel, jr. How and why a people responds affirmatively to momentous events in the life of its nation is an intriguing question for the social historian. Part of the answer may be found in the degree to which a populace can connect such events to traditional (and often idealistic) themes in its culture, themes which have had wide currency and restatement. This kind of identification can be seen particularly in wartime; twice in this century large segments of the American population rallied around the call to preserve democracy under the guise of fighting a "war to end all wars" and another to preserve the "four freedoms." But popular perceptions of these global conflicts were not without both deliberate and unconscious manipulation in many areas of the culture, including commercial motion pictures. Hollywood produced hundreds of feature films during World War II which depicted facets of that conflict on the domestic homefront, the soil of friendly Allies and far-flung battlefields. Many of the films showed no more than a crude addition of the war theme to plots that would have been filmed anyway in peacetime, such as gangster stories and musical comedies. But other movies reached a deeper level in subtly linking the war to American traditions and ideals. Sahara,1 Columbia Pictures' biggest money-maker in 1943, starring Humphrey Bogart in a finely understated performance, is such a motion picture. Students of American culture will find Sahara and its never-filmed predecessor script, "Trans-Sahara," artifacts especially useful in ex­ amining two phenomena: the process of government pressure on 0026-3079/81/2201-0005S01.50/0 5 movie studios to ensure that the "approved" war.
  • Unbecoming Adults: Adolescence and the Technologies of Difference in Post

    Unbecoming Adults: Adolescence and the Technologies of Difference in Post

    Unbecoming Adults: Adolescence and the Technologies of Difference in Post-1960s US Ethnic Literature and Culture DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James K. Harris, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Dr. Martin Joseph Ponce, Advisor Dr. Lynn Itagaki Dr. Jian Chen Copyright by James K. Harris 2017 Abstract Adolescence has always been a cultural construction. The designation of a separate space apart from the presumed innocence of childhood and the myths of autonomy and responsibility that come to define adulthood is a surprisingly modern phenomenon. As such, adolescence bears the traces of the ideologies of race, gender, sexuality, and nation that attend so much of the period that calls itself “modernity.” My dissertation asks how writers and artists of color imagine themselves into the archive of coming of age narratives in post-1960s US literature and culture. In thinking about the importance of identity in the period following the advent of nominal civil rights, I offer the “long(er) civil rights movement” as a way of resisting the move to periodize the struggles through which difference has historically accrued meaning in the US nation- state. Each chapter centers around a “technology,” the academy, the body, the entertainment industry, and the internet, which is essential to the formation of adolescent identity in the post-war era, alongside a key term in the lexicon of American culture that accrues added meanings when filtered through the experience of difference.
  • Looking Back at the Creative Process

    Looking Back at the Creative Process

    IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains.
  • 02Bodyetd.Pdf (193.2Kb)

    02Bodyetd.Pdf (193.2Kb)

    Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years.
  • PROPAGANDA FILMS DURING the THIRD REICH by ASHLEY

    PROPAGANDA FILMS DURING the THIRD REICH by ASHLEY

    PROPAGANDA FILMS DURING THE THIRD REICH by ASHLEY SCHRENK (Under the Direction of Christine Haase) ABSTRACT Films produced during the Third Reich generally fall into two categories: blatant propaganda films, which this paper terms hard-core propaganda films, or subtler, soft- core propaganda films. The first category frequently features vilification of Jews, as well as glorification of the German Volk, Heimat and of Hitler. Third Reich hard-core propaganda films portray Aryan Germans in opposition to other races, resulting in the extreme exclusion of the Other. The soft-core propaganda films are a toned down version of the hard-core propaganda films. This thesis proposes an inverse relationship between the level of inherent inconsistencies and contradictions within Third Reich films and the categorization of a film as hard-core propaganda. The greater the inconsistencies in relation to Nazi ideology, the more a film becomes soft-core propaganda and vice versa. A variety of hard and soft-core propaganda films are analyzed, and the overall effectiveness of such propaganda is examined. INDEX WORDS: Third Reich, Propaganda Ministry, Nazi film, Nazi cinema, Goebbels, Riefenstahl, Hitler, Nazi propaganda, Fascism, Fascist aesthetics, Nazi popular film, Triumph des Willens, Jud Süß, Der ewige Jude, Zu neuen Ufern, Die große Liebe, Die goldene Stadt PROPAGANDA FILMS DURING THE THIRD REICH by ASHLEY SCHRENK B.A., The University of Georgia, 2004 B.B.A., The University of Georgia, 2004 A thesis Submitted to the Graduate Faculty of The University
  • George P. Johnson Negro Film Collection LSC.1042

    George P. Johnson Negro Film Collection LSC.1042

    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
  • Desired Ground Zeroes: Nuclear Imagination and the Death Drive Calum Lister Matheson a Dissertation Submitted to the Faculty At

    Desired Ground Zeroes: Nuclear Imagination and the Death Drive Calum Lister Matheson a Dissertation Submitted to the Faculty At

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Desired Ground Zeroes: Nuclear Imagination and the Death Drive Calum Lister Matheson A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication Studies. Chapel Hill 2015 Approved by: Carole Blair Ken Hillis Chris Lundberg Todd Ochoa Sarah Sharma © 2015 Calum Lister Matheson ALL RIGHTS RESERVED ii ABSTRACT Calum Lister Matheson: Desired Ground Zeroes: Nuclear Imagination and the Death Drive (Under the direction of Chris Lundberg and Sarah Sharma) A wide variety of cultural artefacts related to nuclear warfare are examined to highlight continuity in the sublime’s mix of horror and fascination. Schemes to use nuclear explosions for peaceful purposes embody the godlike structural positions of the Bomb for Americans in the early Cold War. Efforts to mediate the Real of the Bomb include nuclear simulations used in wargames and their civilian offshoots in videogames and other media. Control over absence is examined through the spatial distribution of populations that would be sacrificed in a nuclear war and appeals to overarching rationality to justify urban inequality. Control over presence manifests in survivalism, from Cold War shelter construction to contemporary “doomsday prepping” and survivalist novels. The longstanding cultural ambivalence towards nuclear war, coupled with the manifest desire to experience the Real, has implications for nuclear activist strategies that rely on democratically-engaged publics to resist nuclear violence once the “truth” is made clear.
  • Politics and Film GOVT 432 10/15

    Politics and Film GOVT 432 10/15

    Politics and Film GOVT 432 10/15 Professor Eric Langenbacher [email protected] 687-5903 Summer 2017 First Session June 5-July 7 M,T,W,R 6:00-8:30 Office Hours: M, T 2:00-3:00 ICC 657 or by appointment The important and long-standing interplay between politics and film is the focus of this course. Three general questions characterize this examination. First, what ideological, chronological, or cultural differences mark different films focusing on a common political object, such as the American Dream or war? What accounts for these differences? Second, how political is an individual movie? How expansive should the definition of political content be? Third, how effective is the specific genre in conveying the intended political message? Are propaganda films really more effective than the indirect messages found in mainstream blockbusters? We begin with a general overview of the film-politics relationship and a brief discussion of the various perspectives and theories that illuminate the connection. Next, we look at the most obvious political films: the propaganda movies Triumph of the Will and Birth of a Nation. Next we look at the documentary genre through a contemporary production Paragraph 175 and a classic, Wiseman’s Titicut Follies. A discussion of political satire follows, focused on Chaplin’s Great Dictator and South Park: Bigger, Longer and Uncut. The next section delves into Hollywood’s image of America and American politics. The first two films revolve around the presentation of the American Dream, exemplified by Citizen Kane, and Forrest Gump, movies separated by 50 years. Then we look at the more focused theme of the image of Washington politics through Capra’s classic Mr.
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward

    Index to Volume 29 January to December 2019 Compiled by Patricia Coward

    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
  • A N T I C I P a T I

    A N T I C I P a T I

    Anticipation T h e 6 7 t h W o r l d S c i e n c e Fiction Convention L e 6 7 e c o n g r è s mondial de science - f i c t i o n 2 paratoire é s R e p o r t pr Rapport P r o g r e s J u l y J u i l l e t 2 0 0 8 Seattle in 2011 Come to Seattle where the past and future will join together for a vibrant present. Seattle is bidding to host its second There are huge varieties of culinary World Science Fiction Convention on offerings, famous coffee houses, and the 50th anniversary of its first, pubs all within a few blocks. Seacon, the 1961 Worldcon The International District, Belltown, Pioneer Square, Capitol Hill, and Uptown are all right outside the front door. For your extended travel plans, there are mountain The Vote for the 2011 Worldcon ranges, will be held during Anticipation, volcanoes, the 2009 Worldcon in Montreal. rain forests, the Show your support for Seattle ocean, and in 2011 by purchasing a hundreds of supporting membership, voting islands close by. in Site Selection at Anticipation and Joining the Bid Team. Bid Membership Rates Pre-Support $25 We would love to include you in Pre-Oppose $50 our list of volunteers, please contact Friend of the Bid $100 us at [email protected] to Enemy of the Bid $150 join us. Patron of the Bid $300 Nemesis of the Bid $500 Our location in downtown Seattle is a short distance from the Science Fic- tion Museum, the Experience Music Project, Pike Place Market, the Monorail, Space Needle, and the Pacific Science Center.
  • Assimilating Video

    Assimilating Video

    Assimilating Video FEDERICO WINDHAUSEN At the end of the 1990s, New York City’s experimental-film scene seemed to be undergoing a revitalization, sparked by alternative screening venues such as the Robert Beck Memorial Cinema on the Lower East Side and Ocularis in Williamsburg, as well as programming initiatives at local museums, including The Cool World , the Whitney’s extensive survey of American experimental film and video art. A round - table of critics, curators, and practitioners, convened in 2000 by The Village Voice to consider this development, gave the overall impression of a thriving community with a catholic appreciation of different moving-image media. When critic J. Hoberman asked the group whether the film-video distinction was “still even an issue,” the answers were fairly prosaic, touching on the preference for format hybridity among students and the lack of acceptable video projection in classrooms. Doubtless aware of the long history of internal dissent and cross-disciplinary carping within such cir - cles, Hoberman capped the whole exchange by labeling it “very polite.” 1 Presumably also aware that medium-specificity had functioned as a discur - sive flash point for many years in experimental-film communities, Hoberman noted, in a brief postscript published later, that “the unexpected popularity” of the MoMA’s Big As Life retrospective of 8mm experimental film, “along with such other instances as Stan Brakhage’s frame-by-frame painting or the very different projection pieces orchestrated by Ken Jacobs and Luis Recoder . served as an example of ‘film outliving its death.’” 2 Roughly six months later, in The New York Press , critic and programmer Ed Halter also addressed the continuing relevance of photochemical film, but the position he articulates sharply contrasts with the roundtable’s picture of equable pluralism.