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Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
The Golden Door
THE GOLDEN DOOR Nuovomondo (The Golden Door) Directed by Emanuele Crialese Produced by Bernard Bouix Tommaso Calevi Alexandre Mallet-Guy Written by Emanuele Crialese Starring Charlotte Gainsbourg Vincenzo Amato Francesco Casisa Filippo Pucillo Vincent Schiavelli Music by Antonio Castrigano Editing by Maryline Monthieux Distributed by Miramax Release date(s) May 25, 2007 (US limited) September 22, 2006 (Italy) Running time 120 min. Country Italy Language Italian, English Budget ~ €10,000,000 Nuovomondo literally, new world (The Golden Door) is a 2006 drama based around a family's migration from Italy to New York during the beginning of the 20th Century. The film is set in both Italy and The United States. The film is written and directed by Emanuele Crialese. Vincent Schiavelli, whose character was originally planned to play a major part, died during the filming, forcing his role to become a supporting character. The movie premiered at the Venice Film Festival on September 8, 2006 to critical praise and seven nominations (with six wins) at the Festival. Many praised the director's focus on sound and visual composition. Others focused on the lack of typical iconography of the time (such as the Statue of Liberty). Martin Scorsese will be featured in the marketing for the film. He will also introduce the film at the Tribeca Film Festival. Plot summary During the turn of the 20th Century, the poor Mancuso family (headed by the widowed Salvatore, Vincenzo Amato), from Sicily, Italy, emigrates to the United States. They dream of the land of opportunity, where giant vegetables are grown, people swim in milk, and coins fall from the sky. -
California State University, Sacramento Department of World Literatures and Languages Italian 104 a INTRODUCTION to ITALIAN CINEMA I GE Area C1 SPRING 2017
1 California State University, Sacramento Department of World Literatures and Languages Italian 104 A INTRODUCTION TO ITALIAN CINEMA I GE Area C1 SPRING 2017 Course Hours: Wednesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2057 Office Hours: W 2:30-3:30, TR 5:20-6:20 and by appointment CATALOG DESCRIPTION ITAL 104A. Introduction to Italian Cinema I. Italian Cinema from the 1940's to its Golden Period in the 1960's through the 1970's. Films will be viewed in their cultural, aesthetic and/or historical context. Readings and guiding questionnaires will help students develop appropriate viewing skills. Films will be shown in Italian with English subtitles. Graded: Graded Student. Units: 3.0 COURSE GOALS and METHODS: To develop a critical knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema, attain more than a mere acquaintance or a broad understanding of specific artistic (cinematographic) forms, genres, and cultural sources, that is, to learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining. -
Constructions of Domesticity in Nineteenth-Century Spanish America.” Hispanic Journal 21:2 (Fall 2000): 409-420
Claremont Colleges Scholarship @ Claremont CMC Faculty Publications and Research CMC Faculty Scholarship 10-1-2000 Constructions of Domesticity in Nineteenth- Century Spanish America Lee Joan Skinner Claremont McKenna College Recommended Citation “Constructions of Domesticity in Nineteenth-Century Spanish America.” Hispanic Journal 21:2 (Fall 2000): 409-420. This Article is brought to you for free and open access by the CMC Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in CMC Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. CONSTRUCTIONS OF DOMESTICITY IN NINETEENTH-CENTURY SPANISH AMERICA It is by now a commonplace that in nineteenth-century Spanish American literature the family serves as a metaphor for the nation and that authors express their political agendas through allegories of courtship and marriage. In such readings, potential love matches symbolize the recon ciliation of contesting political or ethnic groups and point toward ways for the newly-formed Spanish American nations to negotiate difference with out falling into civil war. Most notably, Doris Sommer's Foundational Fictions: The National Romances ofLatin America succinctly explains her project-subsequently taken up and adapted by a generation of critics-as one that wishes "to locate an erotics of politics, to show how a variety of novel national ideals are all ostensibly grounded in 'natural' heterosexual love and in the marriages that provided a figure for apparently nonviolent consolidation during internecine conflicts at midcentury" (6). At its core Sommer's interpretations of what she identifies as the key novels in nine teenth-century Spanish America are concerned with courtship and the process of arriving-or fu.iling to arrive-at successful matches. -
Spring 1998 Course Guide TABLE of CONTENTS
WOMEN, GENDER, SEXUALITY STUDIES PROGRAM UNIVERSITY OF MASSACHUSETTS AMHERST Spring 1998 Course Guide TABLE OF CONTENTS This catalog contains descriptions of all Women’s Studies courses for which information was available in our office by the publication deadline for pre-registration. Please note that some changes may have been made in time, and/or syllabus since our print deadline. Exact information on all courses may be obtained by calling the appropriate department or college. Please contact the Five-College Exchange Office (545-5352) for registration for the other schools listed. Listings are arranged in the following order: Women, Gender, Sexuality Studies Core Courses Courses offered through the Women, Gender, Sexuality Studies program Women of Color Courses Courses that count towards the Woman of Color requirement for UMass Amherst Women, Gender, Sexuality Studies undergraduate majors and minors. Departmental Courses Courses offered in other UMass departments and programs. All courses listed except 100-level automatically count towards the the major. Component Courses Courses offered in other University Departments and Programs. In order to have these courses count towards the major or minor students must focus their paper(s) or project(s) on gender. Graduate Level Five-College Options: Amherst College Hampshire College Mount Holyoke College Smith College Please note that updates to this guide are available on the website. www.umass.edu/wost/courseinfo.htm WOMEN’S STUDIES COURSE DESCRIPTION GUIDE ADDENDA 1/22/98 Cancellation: WOST 492H/682H - Political Ecology of Women’s Health Janice Raymond New departmental course listings: WOST 394E Comparative Approaches to Women and Health: Historical and Activist Case Studies Elise Young Schedule #274419 -- Wednesday 2:30-5:00 The goal of this course is to study the international context of women and health, drawing on case studies. -
Italian Films (Updated April 2011)
Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni. -
Video-Windows-Grosse
THEATRICAL VIDEO ANNOUNCEMENT TITLE VIDEO RELEASE VIDEO WINDOW GROSS (in millions) DISTRIBUTOR RELEASE ANNOUNCEMENT WINDOW DISNEY Fantasia/2000 1/1/00 8/24/00 7 mo 23 Days 11/14/00 10 mo 13 Days 60.5 Disney Down to You 1/21/00 5/31/00 4 mo 10 Days 7/11/00 5 mo 20 Days 20.3 Disney Gun Shy 2/4/00 4/11/00 2 mo 7 Days 6/20/00 4 mo 16 Days 1.6 Disney Scream 3 2/4/00 5/13/00 3 mo 9 Days 7/4/00 5 mo 89.1 Disney The Tigger Movie 2/11/00 5/31/00 3 mo 20 Days 8/22/00 6 mo 11 Days 45.5 Disney Reindeer Games 2/25/00 6/2/00 3 mo 8 Days 8/8/00 5 mo 14 Days 23.3 Disney Mission to Mars 3/10/00 7/4/00 3 mo 24 Days 9/12/00 6 mo 2 Days 60.8 Disney High Fidelity 3/31/00 7/4/00 3 mo 4 Days 9/19/00 5 mo 19 Days 27.2 Disney East is East 4/14/00 7/4/00 2 mo 16 Days 9/12/00 4 mo 29 Days 4.1 Disney Keeping the Faith 4/14/00 7/4/00 2 mo 16 Days 10/17/00 6 mo 3 Days 37 Disney Committed 4/28/00 9/7/00 4 mo 10 Days 10/10/00 5 mo 12 Days 0.04 Disney Hamlet 5/12/00 9/18/00 4 mo 6 Days 11/14/00 6 mo 2 Days 1.5 Disney Dinosaur 5/19/00 10/19/00 5 mo 1/30/01 8 mo 11 Days 137.7 Disney Shanghai Noon 5/26/00 8/12/00 2 mo 17 Days 11/14/00 5 mo 19 Days 56.9 Disney Gone in 60 Seconds 6/9/00 9/18/00 3 mo 9 Days 12/12/00 6 mo 3 Days 101.6 Disney Love’s Labour’s Lost 6/9/00 10/19/00 4 mo 10 Days 12/19/00 6 mo 10 Days 0.2 Disney Boys and Girls 6/16/00 9/18/00 3 mo 2 Days 11/14/00 4 mo 29 Days 21.7 Disney Disney’s The Kid 7/7/00 11/28/00 4 mo 21 Days 1/16/01 6 mo 9 Days 69.6 Disney Scary Movie 7/7/00 9/18/00 2 mo 11 Days 1212/00 5 mo 5 Days 157 Disney Coyote Ugly 8/4/00 11/28/00 3 -
'The Myth of Camila O'gorman in the Works of Juana Manuela Gorriti
Copyright by Fernanda Vitor Bueno 2007 The Dissertation Committee for Fernanda Vitor Bueno Certifies that this is the approved version of the following dissertation: The Myth of Camila O'Gorman in the Works of Juana Manuela Gorriti, María Luisa Bemberg and Enrique Molina Committee: Enrique Fierro, Supervisor Frederick Hensey Míriam Balboa Echeverría Naomi Lindstrom Nicolas Shumway The Myth of Camila O'Gorman in the Works of Juana Manuela Gorriti, María Luisa Bemberg, and Enrique Molina by Fernanda Vitor Bueno, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2007 Dedication A Patricia, inestimable amiga. Acknowledgements I would like to thank my supervisor, Prof. Enrique Fierro, for his unconditional support. Dr. Míriam Balboa Echeverría mentored my graduate studies; her confidence in me has renewed my own. I thank Dr. Naomi Lindstrom for her encouragement and time invested in my work. Dr. Nicolas Shumway's seminars on Argentina inspired me. I express my gratitude to Dr. Frederick Hensey for his kind comments and insightful suggestions. I wrote this thesis with the enthusiastic support and friendship of Dr. Patricia Fernós, who guided me through the English language and my own thoughts. The love of my husband, family, and friends gives me the energy to pursue my goals. v The Myth of Camila O'Gorman in the Works of Juana Manuela Gorriti, María Luisa Bemberg, and Enrique Molina Publication No._____________ Fernanda Vitor Bueno, Ph.D. -
Dress and Fashion, “Rosista” Style 31
FashionNation: The Politics of Dress and Gender in 19th Century Argentine Journalism (1829-1880) by Susan Hallstead B.A. in Spanish, University of Pittsburgh, 1997 M.A. in Hispanic Literature, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of the Department of Hispanic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Susan Hallstead It was defended on December 12, 2005 and approved by Mabel Moraña, PhD, Professor Gerald Martin, PhD, Professor Jerome Branche, PhD, Associate Professor Susan Andrade, PhD, Associate Professor Dissertation Director: Mabel Moraña, PhD, Professor ii Copyright © by Susan Hallstead 2005 iii TABLE OF CONTENTS 1. Introduction 1 2. Forced Traditions, Forged Equality: Dress and Fashion, “Rosista” Style 31 2.1. Entering a New World Order: Of Essence, Appearance and Peinetones 33 2.2. The Brute of all Brutes, the Tiger of all Tigers: Rosas, the Rosista Dress Code and the othering of the Lettered City 66 2.3. Rosas and the Afro-Argentine: The Relationship of Race and Dress in the Rosista Era 92 3. Challenging Barbarism and Waging Wars of Images: Argentina’s Men of Letters find Fashion (1829-1852) 113 3.1. Early Argentine Journalism and National Politics: The Challenges of the Post-Independence Period 118 3.2. Fashion’s Appearance at the Intellectual Round Table: Consumption, Citizenship and the Ideal Unitarist 130 3. 3. The Foundational Parameters of Argentine Nationalism: Fashion, Civilization and Barbarism 183 4. After Caseros: Women Write on Fashion, Nation and Politics 206 4.1. -
Rewriting Womanhood, Nancy Lagreca Explores the Subversive Refigurings of I T Womanhood in Three Novels by Women Writers: La Hija Del Bandido (1887) by I N
ANHOOD 1887–1903 greca OM a W G nancy l nancy Angel of the House in the Feminism, Subjectivity, and the Subjectivity, Feminism, Latin American Novel, PENN STATE ROMANCE STUDIES PENN STATE REWRITIN Feminism, Subjectivity, and the Angel of the lagreca REWRITING WOMANHOOD House in the Latin American Novel, 1887–1903 state penn press ting i (1903) wr e R (1887) by (1888) by Luz y sombra Blanca Sol La hija del bandido ms the value of three women novelists who wished novelists of three women ms the value aduate students, and the general reader, fir Nancy LaGreca explores the subversive refigurings of LaGreca explores the subversive Nancy f , ant Professor in the Department of Modern Languages, Department the in ant Professor t ea r tes, gr ssis vides ample historical context for understanding the key adua o pr isbn 978-0-271-03439-3 eca is A dergr 90000 e, and Linguistics at the University of Oklahoma. e, and Linguistics at the University tur ting Womanhood anhood i a cy LaGr Rewriting Womanhood wr om ter an oman as individual for a modern era. As such, it is an important contribu- 9 780271 034393 e Mercedes Cabello de Carbonera 1845 (Peru, –1909), and Refugio Barragán de Toscano (Mexico, 1846–1916), BarragánRefugio de Toscano W penn state romance studies romance series penn state university press state the pennsylvania pennsylvania university park, www.psupress.org by Ana Roqué (Puertoby Ana Roqué Rico, 1853 both –1933). were While these women by been largely overlooked have they and critiquedacclaimed in their day, contemporary mainstream criticism. -
Copyright by Nancy Lagreca 2004 Feminism and Identity in Three Spanish American Novels, 1887-1903
Copyright by Nancy LaGreca 2004 Feminism and Identity in Three Spanish American Novels, 1887-1903 by Nancy Anne LaGreca, B.A., M.A Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2004 The dissertation Committee for Nancy Anne LaGreca certifies that this is the approved version of the following dissertation Feminism and Identity in Three Spanish-American Novels, 1887-1903 Committee: Naomi Lindstrom, Supervisor Katherine Arens Enrique Fierro Virginia Higginbotham Benigno Trigo Alexandra Wettlaufer Dedication I dedicate this work to Anne, Roy, and Josephine LaGreca Acknowledgements It is with great pleasure that I acknowledge the professors, colleagues, and friends who have supported this project. I would like to begin by expressing my appreciation of and admiration for the members of my dissertation committee who, as a group and as individuals, have made this an exceptional experience. First I owe a great deal to the scholarly expertise and attention of my advisor, Naomi Lindstrom. Her rigorous standards for research, writing, and analysis, help with editing, and consistent encouragement have left their mark on this manuscript and on my development as a scholar. I thank her for being an excellent role model and mentor throughout my graduate career. I am indebted to Katie Arens for sharing with me her acute knowledge of theory and for her recommendations for placing my work in dialogue with an interdisciplinary women’s studies community. Her timely and detailed comments on each chapter of this manuscript in the early stages of its development laid a solid foundation for the revisions and expansion of my analyses. -
Programa De Barman En Buenos Aires, Argentina
Semester Program in Buenos Aires, Argentina Course Name: Gender History in Latin America Hours of Instruction per Week: 4 Total weeks: 15 Total Hours of Instruction: 60 Courses transferable to ECTS Courses transferable to U.S. System Recommendation: Advanced written and spoken English Course Description: The course provides a brief introduction to the history of gender in Latin America from the time of Columbus to the 20th century. Focusing on the multiple manners in which womanhood has been constructed and experienced, the course explores the role that categories such as racial origins and social class play in mediating and defining experience. The course seeks to understand the complexity of the process of finding women’s own voices. Labor, family relations, sexuality, religion, education, and the evolution of political and civil rights will be discussed in order to demonstrate that women have actively shaped their own destinies. The course will use case studies, such as Sor Juana Inés de la Cruz, Manuela Saenz, Clorinda Matto de Turner, Eva Perón, Rigoberta Menchú, and Frida Kahlo and the weekly readings will be completed with primary source material, such as memoirs, accounts, films, photographs, and images. Attendance policy: Each class will consist of two sections. During the first, the instructor will provide a brief historical background of the weekly topics. During the second, students will engage in active participation by discussing and evaluating the weekly readings. In addition, each week a small group of students will prepare a short oral presentation and a brief written summary on one of the recommended readings. The requirements also include a midterm and final exam, as well as class attendance.