DOCSLIB.ORG

Apichatpong Weerasethakul Week 3: Haunted Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Apichatpong Weerasethakul Week 3: Haunted Cinema Week 1: Haunted by Cinema Week 2: Apichatpong Weerasethakul Week 3: Haunted Cinema Modern Cinema’s inaugural season kicks off with a weekend of films that have Adding a contemporary dimension to the season, Apichatpong Weerasethakul’s The final weekend in the first season of Modern Cinema celebrates films that haunt haunted the creative world since they were first screened—the works whose films are haunted both by the ghosts of cinema past and by their own us all—ghost stories, explorations of the spirit, and studies in fantasy from all over influence remains and whose power has inspired our most important filmmakers. characters, who move between past and present, life and death. For the world and from some of filmmaking’s greatest practitioners. Eerie, unsettling, The lineup features landmark films from the Criterion/Janus catalog, with work Weerasethakul, cinema itself is haunted. The artist has selected several titles and startling, these works set the standard for subtle psychological horror and from such masters as Akira Kurosawa, Ingmar Bergman, Chantal Akerman, from the Criterion Collection that have haunted his films to accompany this changed the way we think about supernatural encounters. Michelangelo Antonioni, and more. retrospective of his own work. IN 35MM! Rashomon The Bitter Tears of Petra von Kant An Evening with Mekong Hotel Pitfall Carnival of Souls Akira Kurosawa, Japan, 1950, 88 min Rainer Werner Fassbinder, Germany, 1972, 125 min Apichatpong Weerasethakul Apichatpong Weerasethakul, Thailand, 2012, 61 min Hiroshi Teshigahara, Japan, 1962, 97 min Herk Harvey, USA, 1962, 78 min FRIDAY • OCTOBER 7 • 6:00 PM FRIDAY • OCTOBER 7 • 8:30 PM THURSDAY • OCTOBER 13 • 7:00 PM FRIDAY • OCTOBER 14 • 6:00 PM FRIDAY • OCTOBER 21 • 6:00 PM FRIDAY • OCTOBER 21 • 8:30 PM A riveting psychological thriller that investigates the This unforgettable, unforgiving dissection of the Join visionary filmmaker Apichatpong Weerasethakul Mekong Hotel sits on the border of Thailand and Laos. When a miner leaves his employers to become a migrant A woman in a Kansas town survives a car accident, nature of truth and the meaning of justice, Rashomon imbalanced relationship between a haughty fashion for an illustrated discussion of his films and art. There, Apichatpong Weerasethakul holds a rehearsal worker, he finds himself moving from one eerie landscape then agrees to take a job as a church organist in Salt is widely considered one of the greatest films ever designer and a beautiful, icy ingénue—based on the For this evening, he will present brief remarks and for a treatment for a movie that he wrote years ago. to another, intermittently followed by an enigmatic man Lake City. En route, an apparition compels her toward made. Four people give different accounts of a man’s writer-director’s own desperate obsession with a introduce several shorts made in the last 15 years, This study shuffles between realms and fact and in a clean, white suit—eventually coming face-to-face an abandoned lakeside pavilion. Made on a modest murder and the rape of his wife, which director Akira young actor—is a true Fassbinder affair, featuring including the hour-long Haunted Houses. This is a rare fiction, expressing the bonds between a vampire-like with his inescapable destiny. Hiroshi Teshigahara’s debut budget, this eerily effective B-movie classic was Kurosawa presents with striking imagery and an exquisitely claustrophobic cinematography by Michael opportunity to explore his fertile cross-pollination of mother and her daughter, two young lovers and the feature and first collaboration with novelist Kobo Abe, intended to have “the look of a Bergman and the feel ingenious use of flashbacks. Ballhaus and full-throttle performances by an all- art and cinema and the themes that illuminate these river, while weaving in themes of political history, Pitfall is an unsettling ghost story, a portrait of human of a Cocteau”—and, with its striking locations and female cast. unique works with the filmmaker himself. science fiction, music, and a dream of the future. alienation, and a surreal critique of soulless industry. spooky score, it succeeds. IN 35MM! IN 35MM! Agnès Varda Shorts: Black Panthers, Uncle Yanco, Mysterious Object at Noon Viridiana The River Picnic at Hanging Rock Grey Gardens and Documenteur Apichatpong Weerasethakul, Thailand, 2000, 89 min Luis Buñuel, Spain, 1961, 90 min Jean Renoir, France, 1951, 99 min Peter Weir, Australia, 1975, 107 min Albert and David Maysles, USA, 1976, 94 min Agnès Varda, France, 1981/1968/1967, TRT 113 min SATURDAY • OCTOBER 8 • 3:45 PM FRIDAY • OCTOBER 14 • 8:00 PM SATURDAY • OCTOBER 15 • 1:00 PM SATURDAY • OCTOBER 22 • 3:00 PM SATURDAY • OCTOBER 22 • 6:00 PM SATURDAY • OCTOBER 8 • 1:00 PM Part fiction, part documentary, and part pseudo- Denounced by the Vatican, Luis Buñuel’s vision of Director Jean Renoir’s entrancing first color feature— Set at the turn of the 20th century, Picnic at Hanging Meet Big and Little Edie Beale: mother and daughter, After temporarily relocating to California in the late documentary about several unrelated lives, Mysterious life as a beggar’s banquet is regarded by many as shot entirely on location in India—is a visual tour de Rock concerns a small group of students from an high-society dropouts, and reclusive cousins of 1960s with her husband Jacques Demy, Agnès Varda, Object at Noon was shot without a conventional script. his masterpiece. In it, novice nun Viridiana does force. The film eloquently contrasts the growing pains of all-female college who vanish on a St. Valentine’s Jackie Onassis. The two manage to thrive together inspired by the politics, youth culture, and sunshine of The crew set out across Thailand, asking each subject her utmost to maintain Catholic principles, but her three young women with the immutability of the Bengal Day outing. Less a mystery than a journey into the amid the decay of their East Hampton mansion. An San Francisco and Los Angeles, created three works to continue a story started by the prior subject but lecherous uncle and a motley assemblage of paupers river around which their daily lives unfold. Enriched mystic and an inquiry into issues of class and sexual impossibly intimate portrait, this 1976 documentary that use documentary and fiction in various ways. with freedom of expression. After the journey, the crew force her to confront the limits of her idealism. by Renoir’s subtle understanding and appreciation for repression, Peter Weir’s gorgeous film is a work of by Albert and David Maysles quickly became a cult Together, they demonstrate that Varda was as deft an returns to Bangkok, where all is retold in a fiction-drama Winner of the Palme d’Or at the 1961 Cannes Film India and its people, The River gracefully explores both poetic horror whose secrets haunt viewers to this day. classic and established Little Edie as a fashion icon and artist in unfamiliar terrain as she was on her own turf. style with non-professional actors. Festival, Viridiana remains as audacious as ever. transitory emotions and everlasting creation. philosopher-queen. IN 35MM! IN 35MM! IN 35MM! IN 35MM! The Seventh Seal L’Avventura Shorts by Apichatpong Weerasethakul Syndromes and a Century Ugetsu Uncle Boonmee Who Can Recall His Past Lives Ingmar Bergman, Sweden, 1957, 96 min Michelangelo Antonioni, Italy, 1960, 143 min SATURDAY • OCTOBER 15 • 3:30 PM Apichatpong Weerasethakul, Thailand/France, 2006, 105 min Kenji Mizoguchi, Japan, 1953, 97 min Apichatpong Weerasethakul, UK/Thailand/Germany/France/Spain, 2010, 113 min SATURDAY • OCTOBER 8 • 5:45 PM SATURDAY • OCTOBER 8 • 8:00 PM Apichatpong Weerasethakul, a highly original moving- SATURDAY • OCTOBER 15 • 6:00 PM SATURDAY • OCTOBER 22 • 8:00 PM Disillusioned and exhausted after a decade of battling Michelangelo Antonioni invented a new film grammar image artist, is one of the few filmmakers who Dedicated to Apichatpong Weerasethakul’s doctor “Quite simply one of the greatest of filmmakers,” said SUNDAY • OCTOBER 23 • 3:00 PM in the Crusades, a knight (Max von Sydow) encounters with this masterwork. An iconic piece of 1960s successfully bridge the gap between narrative forms parents, Syndromes and a Century begins in a rural Jean-Luc Godard of Kenji Mizoguchi. And Ugetsu, a Winner of the Palme d’Or at Cannes, this film is a unique Death on a desolate beach and challenges him to a cinema and a gripping narrative on its own terms, and the avant-garde. A graduate of the School of the hospital that basks in a light so radiant it finds all doctors ghost story like no other, is surely the Japanese tale of a man embracing life’s greatest mystery. Uncle fateful game of chess. Much studied, imitated, even L’Avventura concerns the enigmatic disappearance of Art Institute of Chicago, he is one of a small group in love. Concerned with how memory (and, by extension, director’s supreme achievement. Derived from stories Boonmee has chosen to spend his final days with loved parodied, but never outdone, Ingmar Bergman’s stunning a young woman during a yachting trip off the coast of independent Thai filmmakers working outside the cinema) works to recall and rephrase stories and by Akinari Ueda and Guy de Maupassant, this haunting ones in the countryside. Surprisingly, the ghost of his allegory of man’s search for meaning The Seventh Seal of Sicily and the search taken up by her disaffected country’s studio system. This program comprises emotions, the film is blissfully impervious to narrative tale of love and loss—with its exquisite blending of the deceased wife appears, and his long lost son returns. was one of the benchmark foreign imports of America’s lover (Gabriele Ferzetti) and best friend (Monica Vitti, Weerasethakul’s rarely seen short works made over concerns and is as seductive as an afternoon spent under otherworldly and the real—is one of the most beautiful Contemplating the reasons for his illness, Boonmee treks 1950s art-house heyday.
Load more

Recommended publications
  • Apichatpong Weerasethakul
    UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners.
    [Show full text]
  • A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture
    Cinema of the Self: A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture Milosz Paul Rosinski Trinity Hall, University of Cambridge June 2017 This dissertation is submitted for the degree of Doctor of Philosophy Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. The dissertation is formatted in accordance to the Modern Humanities Research Association (MHRA) style. This dissertation does not exceed the word limit of 80,000 words (as specified by the Modern and Medieval Languages Degree Committee). Summary This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror.
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Perceptual Realism and Embodied Experience in the Travelogue Genre
    Athens Journal of Mass Media and Communications- Volume 3, Issue 3 – Pages 229-258 Perceptual Realism and Embodied Experience in the Travelogue Genre By Perla Carrillo Quiroga This paper draws two lines of analysis. On the one hand it discusses the history of the This paper draws two lines of analysis. On the one hand it discusses the history of the travelogue genre while drawing a parallel with a Bazanian teleology of cinematic realism. On the other, it incorporates phenomenological approaches with neuroscience’s discovery of mirror neurons and an embodied simulation mechanism in order to reflect upon the techniques and cinematic styles of the travelogue genre. In this article I discuss the travelogue film genre through a phenomenological approach to film studies. First I trace the history of the travelogue film by distinguishing three main categories, each one ascribed to a particular form of realism. The hyper-realistic travelogue, which is related to a perceptual form of realism; the first person travelogue, associated with realism as authenticity; and the travelogue as a traditional documentary which is related to a factual form of realism. I then discuss how these categories relate to Andre Bazin’s ideas on realism through notions such as montage, duration, the long take and his "myth of total cinema". I discuss the concept of perceptual realism as a key style in the travelogue genre evident in the use of extra-filmic technologies which have attempted to bring the spectator’s body closer into an immersion into filmic space by simulating the physical and sensorial experience of travelling.
    [Show full text]
  • Overview of Programs and Exhibitions, Late May–June 2019
    CALENDAR ADVISORY OVERVIEW OF PROGRAMS AND EXHIBITIONS, LATE MAY–JUNE 2019 Please see below for major screening series, highlighted events, and current exhibitions. Additional programs will be added as confirmed. SCREENING SERIES Panorama Europe Film Festival THROUGH MAY 19, 2019 The eleventh edition of the annual festival of new films from Europe, co-presented by MoMI and the European Union National Institutes of Culture (EUNIC), features seventeen films, including nine directed by women. Upcoming films include: Baikonur, Earth from Italian director Andrea Sorini, who will appear in person; Light as Feathers, from Dutch writer/director Rosanne Pel; Several Conversations About a Very Tall Girl, considered the first Romanian film to feature a lesbian love story, with director Bogdan Theodor Olteanu appearing in person; Babis Makridis’s Pity, which was co-written with Yorgos Lanthimos’s frequent writing partner Efthimis Filippou; from Hungary, One Day (Egy Nap), with director Zsófia Szilágyi in person; and Salomé Lamas’s acclaimed Extinction. Press Release | Schedule & Tickets See It Big! Action THROUGH JULY 7 See It Big! Action offers up favorites of the action-film genre, highlighting work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. Upcoming: a Memorial Day weekend marathon of all six Mission: Impossible films; Police Story, 48 Hrs., Heat, Miami Vice, Big Trouble in Little China, Hard Boiled, Face/Off, Die Hard, Death Proof, Hooper, Point Break, Haywire, Three the Hard Way, Coffy, and Set It Off. See It Big! is the Museum’s signature big-screen series, co-programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky.
    [Show full text]
  • Tropical Malady: Film & the Question of the Uncanny Human-Animal
    etropic 10(2011): Creed, Tropical Malady | 131 Tropical Malady: Film & the Question of the Uncanny Human-Animal “The tiger trails you like a shadow/ his spirit is starving and lonesome/I see you are his prey and his companion” – Tropical Malady. Barbara Creed University of Melbourne Abstract The acclaimed Thai film, Tropical Malady (2004), represents the tropics as a surreal place where conscious and unconscious are as inextricably entwined. Directed by Apichatpong Weerasethakul, Tropical Malady presents two interconnected stories: one a quirky gay love story; the other a strange disconnected narrative about a shape-shifting shaman, a man-beast and a ghostly tiger. This paper will argue that from it beginnings in the silent period, the cinema has created an uncanny zone of tropicality where human and animal merge. rom its beginnings in the early twentieth century the cinema has expressed an F enduring fascination with the tropics as an imaginary space. While many filmmakers have envisaged the tropics as an unspoiled paradise (Bird of Paradise, 1932, 1951; The Moon of Manakoora, 1943; South Pacific, 1958), a view which has its origins in classical times, others have represented the tropics as a deeply uncanny zone where familiar and unfamiliar coalesce. It is as if the heat and intensity of the tropics has liquefied matter until normally incommensurate forms are able to dissolve almost imperceptibly into each other. In this process the boundaries between different systems of thought, ideas and ethics similarly dissipate, creating a space for new and often subversive ideas to flourish. As Driver and Martins state, the meaning of “tropicality” is so elastic a number of discourses have been able to shape it to suit their own purposes.
    [Show full text]
  • Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
    1 COM 321, Documentary Form in Film, Television, & Interactive Media 1/27/17 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anderson, Paul Junun, 2015 Boogie Nights, 1997 Thomas There Will be Blood, 2007 The Master, 2012 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Antonioni, Ragazze in bianco, 1949 L’Avventura, 1960 Michelangelo Chung Kuo – Cina, 1972 La Notte, 1961 Italy L'Eclisse, 1962 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Berlinger, Joe Brother’s Keeper, 1992 Book of Shadows: Blair Witch 2, 2000 US The Paradise Lost Trilogy, 1996-2011 Facing the Wind, 2015 (all with Bruce Sinofsky) Berman, Shari The Young and the Dead, 2000 The Nanny Diaries, 2007 Springer & Pulcini, Hello, He Lied & Other Truths from Cinema Verite, 2011 Robert the Hollywood Trenches, 2002 Girl Most Likely, 2012 US American Splendor, 2003 (hybrid) Wanderlust, 2006 Blitz, Jeffrey Spellbound, 2002 Rocket Science, 2007 US Lucky, 2010 The Office, 2006-2013 (TV) Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man,
    [Show full text]
  • Images of the Religious in Horror Films
    Journal of Religion & Film Volume 5 Issue 2 October 2001 Article 7 October 2001 The Sanctification of ear:F Images of the Religious in Horror Films Bryan Stone Boston University School of Theology, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stone, Bryan (2001) "The Sanctification of ear:F Images of the Religious in Horror Films," Journal of Religion & Film: Vol. 5 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol5/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Sanctification of ear:F Images of the Religious in Horror Films Abstract Horror film functions both as a threat and a catharsis by confronting us with our fear of death, the supernatural, the unknown and irrational, ''the other" in general, a loss of identity, and forces beyond our control. Over the last century, religious symbols and themes have played a prominent and persistent role in the on-screen construction of this confrontation. That role is, at the same time, ambiguous insofar as religious iconography has become unhinged from a compelling moral vision and reduced to mere conventions that produce a quasi-religious quality to horror that lacks the symbolic power required to engage us at the deepest level of our being. Although religious symbols in horror films are conventional in their frequent use, they may have lost all connection to deeper human questions.
    [Show full text]
  • F. Scott Fitzgerald the Stand
    Fiction Songs The Great Gatsby – F. Scott Fitzgerald “Change is Gonna Come” – Sam Cooke The Stand - Stephen King “Oh Holy Night” – Adolph Adam Things Fall Apart – Chinua Achebe “Come as You Are” – Nirvana Brave New World – Aldous Huxley “Paper Tiger” – Beck The Alchemist – Paulo Coelho “Sweet Child O’ Mine” – Guns N Roses Nineteen Eighty Four – George Orwell “Amazing Grace” – John Newton Of Mice and Men – John Steinbeck “Father and Son” – Cat Stevens The Road – Cormac McCarthy “Go or Go Ahead” – Rufus Wainright The Lovely Bones – Alice Sebold “And Justice For All” – Metallica The Fountainhead – Ayn Rand “In My Life” – The Beetles Non-fiction Movies A Brief History of Time – Stephen Hawking The Godfather – Francis Ford Coppola My Life in Art – Konstantin Stanislavsky Magnolia – Paul Thomas Anderson The Singularity is Near – Ray Kurzweil It’s a Wonderful Life – Frank Capra The Tipping Point – Malcolm Gladwell Being John Malkovich – Spike Jonze Bossypants – Tina Fey Life is Beautiful – Roberto Benigni Revelation – John (The One Who Jesus Loved) Gone With the Wind – Victor Fleming The Supernatural Worldview – Cris Putnam Lost in Translation – Sophia Coppola Relativity – Albert Einstein Eternal Sunshine of the Spotless Mind – In Cold Blood – Truman Capote Michel Gondry Exodus – Moses The Sting – George Roy Hill The Little Princess – Walter Lang Children’s Books Documentaries The Giving Tree – Shel Silverstein Grey Gardens – Ellen Hoyde, Albert Maysles The Chronicles of Narnia series– C.S. Lewis The Imposter – Bart Layton Every Amelia Bedelia – Peggy/Herman Parish Hoop Dreams – Steve James Charlotte’s Web – E.B. White Fahrenheit 911 – Michael Moore The Cat in the Hat – Dr.
    [Show full text]
  • Introduction to Cinema (COMM274)
    Introduction to Cinema (COMM274) Meeting time: Thursday 5:30pm – 8:00pm (attendance optional, lectures posted on Sakai) Meeting Location: Zoom Meeting (https://www.luc.edu/its/itrs/teachingwithtechnology/zoom/) Instructor: Benjamin Bateman Office Hours: by appointment Contact info: [email protected] COURSE DESCRIPTION AND OBJECTIVES: Introduction to Cinema will study cinema as a complex medium of global communication. The objectives of this course are to provide the student with the basic filmic language, observational skills and theoretical/critical background for the study of film aesthetics, history, production and criticism. The format of the course will consist of lecture, screening, and discussion. Assigned readings must be completed on time to facilitate the analysis and discussion of films screened in class. ASYNCRONOUS COURSE SPECIFICS This course is being offered asynchronously. As a result, how students engage the course material, meet specifics deadlines, etc. will be at the student’s discretion. Although the course will be delivered asynchronously, we will be following the original Thursday schedule for due dates, deadlines, the Midterm, and the Final Exam. Live sessions will be offered Thursdays 5:30-8pm for students who can attend, but attendance is not compulsory. Students will not be penalized if they are unable to attend the live sessions. The recorded lectures will be available through Sakai the following day. Students will have the option of completing coursework, assessments, textual analysis, etc. throughout the week, but the deadline for said coursework will be Thursdays at 5:30pm of said week. Please consult Sakai for specific due dates and deadlines. Goals of the Course: In order to satisfy the objectives outlined above, the work in the course will be structured so as to meet the following learning outcomes: • Acquisition of the critical and technical vocabulary to describe and analyze cinema.
    [Show full text]
  • PT, Freud, and Psychological Horror
    Press Start Silent Halls Silent Halls: P.T., Freud, and Psychological Horror Anna Maria Kalinowski York University, Toronto Abstract “What is a ghost?” “An emotion, a terrible moment condemned to repeat itself over and over…” —The Devil’s Backbone (Del Toro, 2001) This paper analyses P.T. (Kojima Productions, 2014), a playable teaser made to demo a planned instalment within the Silent Hill franchise. While the game is now indefinitely cancelled, P.T. has cemented itself not only as a full gaming experience, but also as a juggernaut in the genre of psychological horror. Drawing from Sigmund Freud’s concept of the uncanny, the aim of the paper is to address how these psychological concepts surface within the now infamous never-ending hallway of P.T. and create a deeply psychologically horrifying experience. Keywords psychological horror; the uncanny; Freud; game design; Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Kalinowski Silent Halls Introduction The genre of psychological horror is a complex one to navigate through with ease, especially for those that are faint of heart. Despite its contemporary popularity, when the sub-genre first began to emerge within horror films, it was considered to be a detriment to the horror genre (Jancovich, 2010, p. 47). The term ‘psychological’ was often used to disguise the taming of horror elements instead of pushing the genre into more terrifying territories.
    [Show full text]
  • ITS SENIORS! the Weather Was Beautiful on Friday, May 30Th When the Monsignor Scanlan High School As We Prepare for the New School Year, Seniors Entered St
    SCANLANITES IN THE ST. HELENA/MONSIGNOR SCANLAN NEWSLETTER SUMMER 2014 COLLEGES & SCHOLARSHIPS Our Scanlan seniors received over $7 million in scholarships this year from numerous colleges. We are proud to say that we continue to graduate 97% of our seniors with 96% going on to college. Here is a list of just some of the colleges our 2014 seniors were accepted to: • NYU • Hunter College • Fordham University • Catholic University • Manhattan College • Iona College • Penn State • University of Virginia MONSIGNOR SCANLAN CONGRATULATES • Hofstra University • Baruch College • Manhattanville College ITS SENIORS! The weather was beautiful on Friday, May 30th when the Monsignor Scanlan High School As we prepare for the new school year, seniors entered St. Helena Church for their graduation. What an impressive sight they the Class of 2015 are getting ready to were - the young ladies in white gowns and the young men in blue. As the graduates apply to the colleges of their choice. processed, they were joined by their Principal, Dr. Patrick McGuire, Msgr. Thomas If you are aware of any scholarships Derivan, Ms. Emily Padilla-Bradley (past principal), and the entire Monsignor Scanlan available through an organization or a H.S. Faculty. Dr. McGuire conferred diplomas and delivered the commencement address college you have a relationship with that and Msgr. Derivan shared closing thoughts with the graduates. The Valedictorian was a Scanlan senior could qualify for, please Alexandra Andreani, who will be attending Iona College and the Salutatorian was Zaria contact the Scanlan Guidance Office at Ashby who will be attending the University of Virginia. Family members proudly looked (718) 430-0100 X52 or X27 on as numerous scholarships & awards were announced.
    [Show full text]