Syllabus – Spring 2018 – Fully Online
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New York / New York Film Festival, September 23 - October 9, 1994]
Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace. -
Discursos Sobre Identidades Culturais No Cinema Brasileiro Dos Anos 90 Revista FAMECOS: Mídia, Cultura E Tecnologia, Núm
Revista FAMECOS: mídia, cultura e tecnologia ISSN: 1415-0549 [email protected] Pontifícia Universidade Católica do Rio Grande do Sul Brasil de Souza Rossini, Miriam O cinema da busca: discursos sobre identidades culturais no cinema brasileiro dos anos 90 Revista FAMECOS: mídia, cultura e tecnologia, núm. 27, agosto, 2005, pp. 96-104 Pontifícia Universidade Católica do Rio Grande do Sul Porto Alegre, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=495550183011 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto MÍDIA E REPRESENTAÇÃO O cinema da busca: discursos sobre identidades culturais no cinema brasileiro 1 dos anos 90 OS MEIOS DE COMUNICAÇÃO, atualmente, são importantes mediadores de representações RESUMO que perpassam o social, e que, com isso, A proposta deste artigo é analisar o cinema como mediador ajudam a produzir discursos em torno da de representações em torno das identidades culturais de um identidade cultural de um grupo. Dentro grupo. A partir de aportes teóricos de autores como Stuart destes meios, os audiovisuais são os mais Hall e Manuel Castells se procurará fazer um estudo de caso comumente consumidos, daí a necessidade centrado em dois filmes brasileiros, produzidos durante os de refletir sobre os discursos identitários anos 90: Terra Estrangeira, 1995, de Walter Salles e Daniela que perpassam estes meios. A representa- Thomas, e Central do Brasil, 1997, de Walter Salles, que desde ção, aqui, vai ser compreendida a partir de os títulos apontam para uma discussão em torno das ques- Roger Chartier (1990), quando diz que ela tões de representações das identidades culturais brasileira. -
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 -
Finalists Announced for the 2007 Sundance/Nhk International Filmmakers Awards
FOR IMMEDIATE RELEASE For More Information Contact: November 17, 2006 Patrick Hubley, 435.658.3456 [email protected] FINALISTS ANNOUNCED FOR THE 2007 SUNDANCE/NHK INTERNATIONAL FILMMAKERS AWARDS New Projects from Emerging Filmmakers from Europe, Latin America, the United States and Japan Selected Los Angeles, CA–Sundance Institute and NHK (Japan Broadcasting Corporation) announced today the 12 finalists for the 2007 Sundance/NHK International Filmmakers Awards. These annual awards recognize emerging artists in international cinema and are presented to film directors from four global regions (Europe, Latin America, the United States, and Japan) to support them in realizing their next projects. The four winners, selected by members of an international jury, will be announced during the 2007 Sundance Film Festival at Park City, Utah, which runs January 18-28. The awards will be presented at the Festival Awards Ceremony on Saturday, January 27. The 12 finalists for the 2007 Sundance/NHK International Filmmakers Awards are: EUROPE LATIN AMERICA • Jens Jonsson / THE PING-PONG KING (Sweden) • Lucía Cedrón / AGNUS DEI (Argentina) • Dagur Kári / THE GOOD HEART (Iceland) • Jorge Gaggero / DOG SECURITY (Argentina) • Ursula Meier / HOME (Switzerland) • Josué Méndez / DIOSES (Peru) JAPAN UNITED STATES • Isamu Hirabayashi / THE CARE AND FEEDING OF • Caran Hartsfield / BURY ME STANDING INSECTS • Jake Mahaffy / FREE IN DEED • Tomoko Kana / TWO BY THE RIVER • Kazuo Ohno / MR. CRUMPACKER AND THE MAN FROM • Yoshinori Saitou / CHICKEN CHOICE THE LETTER The winning director from each region will receive a $10,000 award and a guarantee from NHK to purchase the Japanese television broadcast rights upon completion of their project. In addition, Sundance Institute will work closely with the award recipients throughout the year, providing ongoing resources and support in seeking out opportunities to finance and distribute their projects. -
1 Film 5900/7900
FILM 5900/7900 - Film Theory Fall 2017 Prof. Rielle Navitski [email protected] Class: T/Th 2:00 – 3:15 pm in 53 Fine Arts Screening: Th 3:30 – 6:15 pm in 53 Fine Arts Office hours: T/W 10:00 am – 12:00 pm or by appointment in 260 Fine Arts Course Description: This course explores a range of critics’, scholars’ and filmmakers’ positions on the “big questions” that arise in relation to films considered as artistic objects and the production and consumption of films considered as meaningful individual and social experiences. Beginning with key debates in film theory and working mostly chronologically, we will consider critic André Bazin’s famous question “what is cinema?” Is it more useful to try to define film’s unique characteristics or to chart its overlap – particularly in a digital age – with other audio/visual media and other visual and performing arts? Should more weight be given to film’s capacity to record and play back a recognizable impression of the visible and audible world, or to its formal or aesthetic qualities – arrangements of light, sound, and time – and the way it communicates meanings through stylistic elements like editing, camera movement, and mise-en-scène. How do elements of film style and the institutions surrounding cinema – from the studio to the movie theater to fan culture – impact spectators’ experiences? How do gender, sexuality, race, and nation shape film aesthetics and viewing experiences? Without seeking to definitively resolve these debates, we will consider how they can meaningfully inform our role as consumers and producers of media. -
Report Draws from Written Responses Provided by the Companies in Response to This Investigation
Table of Contents Executive Summary Findings in Brief 1 Recommendations 3 Background 4 Investigation 8 Findings 9 Finding 1: Many surveyed e-cigarette companies are promoting their products through sponsorship of youth-oriented events, and some companies are offering free samples of e-cigarettes. 9 Finding 2: Surveyed e-cigarette companies market e-cigarettes in flavors that appear to be designed to appeal to youth. 11 Finding 3: E-cigarettes are available for purchase in stores and online by children and teenagers. 13 Finding 4: Surveyed e-cigarette manufacturers have significantly increased marketing expenditures. 15 Finding 5: Many surveyed e-cigarette companies air television and radio advertisements, often with celebrity spokespeople, including during events and programs with youth viewership. 16 Finding 6: Surveyed e-cigarette companies extensively utilize social media and product websites to promote their products. 18 Finding 7: E-cigarette product warning labels lack uniformity and may confuse or mislead consumers. 21 Finding 8: Most surveyed e-cigarette companies support some form of regulation. 22 Conclusions and Recommendations 23 List of Tables and Figures Table 1: Comparison of Federal Restrictions on Cigarettes and E-Cigarettes 5 Table 2: E-Cigarette Manufacturers Surveyed 8 Figure 1: Freedom Project poster 9 Figure 2: Photo of White Cloud team and models passing out Flings at the 2012 Red Bull Wake Open 10 Figure 3: Image featuring White Cloud peach pit flavor 11 Figure 4: Image featuring Green Smoke vanilla flavor 11 Table -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Brazilian Films and Press Conference Brunch
rTh e Museum of Modern Art No. 90 FOR REL.EIASE* M VVest 53 street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart ^ ^ , o -, . ro ^ Wednesday^ October 2, i960 MUSEUM OF MODERN ART INTRODUCES BRAZILIAN FILMS In honor of Brazil's new cinema movement called Cinema NovO; The Museum of Modern Art will present a ten-day program of features and shorts that reflect the recent changes and growth of the film industry in that country. Cinema Novo: Brasil. the New Cinema of Brazil, begins October 1. and continues through I October 17th. Nine feature-length films;, the work of eight young directors; who represent the New Wave of Brazil^ will be shown along with a selection of short subjects. Adrienne Mancia, Assistant Curator, Department of Film, assembled the program. In the past seven years, the Brazilians have earned i+0 international awards. In Berlin, Genoa and Moscow. Brazilian film retrospectives have been held in acknowledgement of the vigorous Cinema Novo that has taken root in that country. Cinema Novo of Brazil has had a stormy history. The first stirring began in the early 50*8 with the discontent of young filmmakers who objected to imitative Hollywood musical comedies, known as "chanchadas," which dominated traditional Brazilian cinema. This protest found a response araong young film critics who were inspired by Italian neo- realism and other foreign influences to demand a cinema indigenous to Brazil. A bandful of young directors were determined to discover a cinematic language that would reflect the nation's social and human problems. The leading exponent of Cinema Novo, Glauber Rocha, in his late twenties, stated the commitLment of Brazil's youthful cineastes when he wrote: "In our society everything is still I to be done: opening roads through the forest, populating the desert, educating the masses, harnessing the rivers. -
Cinema in Latin America
Cinema in Latin America Class code Instructor Details Guido Herzovich | [email protected] Class Details CORE Expressive Cultures: Latin American Film Spring 2018 Mondays 3:30-6:45pm, Wednesdays 3:30-5:00pm Office Hours Wednesdays from 3:15 to 5:15 Prerequisites This course meets twice a week, in one 1.5-hour session and one 3-hour session, which includes the screening of a film. The class, as well as the readings, will be in English, and the films will have English subtitles. Class Description Aimed at fostering a lasting engagement with both film culture and Latin America, this course is an overview of Argentine cinema and culture from the 1950s to the present. It offers tools and guidance for discussing and writing about film and culture, and encourages a personal engagement with the topics and issues raised by the films and their contexts: debates about film as art, political weapon, and/or entertainment, complicity and resistance under conditions of political repression, filmic forms of remembrance and of activism, and the complex relationship between aesthetics and politics, among others. Expressive Cultures is intended to introduce you to the study and appreciation of human artistic creation and to foster your ongoing engagement with the arts. Through critical engagement with primary cultural artifacts, it introduces you to formal methods of interpretation and to understanding the importance of expressive creation in particular social and historical contexts. As a part of the College Core Curriculum, it is designed to extend your education beyond the focused studies of your major, preparing you for your future life as a thoughtful individual and active member of society. -
Filmkatalog IAI Stand Februar 2015 Alph.Indd
KATALOG DER FILMSAMMLUNG Erwerbungen 2006 - 2014 CATÁLOGO DE LA COLECCIÓN DE CINE Adquisiciones 2006 - 2014 Inhalt Argentinien............................................................................. 4 Bolivien....................................................................................18 Brasilien...................................................................................18 Chile.........................................................................................31 Costa Rica................................................................................36 Cuba.........................................................................................36 Ecuador....................................................................................43 Guatemala...............................................................................46 Haiti.........................................................................................46 Kolumbien...............................................................................47 Mexiko.....................................................................................50 Nicaragua.................................................................................61 Peru.........................................................................................61 Spanien....................................................................................62 Uruguay...................................................................................63 Venezuela................................................................................69 -
World Cinema Amsterd Am 2
WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival. -
A Sociological Analysis of Strawberry and Chocolate Andrew Zachary Shultz University of Kentucky
Kaleidoscope Volume 8 Article 9 August 2015 The rC isis of Identity in Post-Revolutionary Cuban Film: A Sociological Analysis of Strawberry and Chocolate Andrew Zachary Shultz University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kaleidoscope Part of the Film and Media Studies Commons, and the Sociology Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Shultz, Andrew Zachary (2009) "The rC isis of Identity in Post-Revolutionary Cuban Film: A Sociological Analysis of Strawberry and Chocolate," Kaleidoscope: Vol. 8, Article 9. Available at: https://uknowledge.uky.edu/kaleidoscope/vol8/iss1/9 This Article is brought to you for free and open access by the The Office of Undergraduate Research at UKnowledge. It has been accepted for inclusion in Kaleidoscope by an authorized editor of UKnowledge. For more information, please contact [email protected]. AUTHOR Andrew Zachary Shultz am a senior Sociology and Spanish double major at the University of Kentucky and a member of The Crisis I the Kappa Alpha Delta International Sociology Honors Society. For this research project I was selected of Identity in as a recipient of the 2009 A. Lee Coleman Outstanding Sociology Senior award, the highest honor bestowed Post-Revolutionary on a student from the department. This project is the outcome of an ongoing research process that began as Cuban Film: a term paper for a graduate seminar class (SOC 735) taught by my faculty mentor and close friend, Dr. Ana A Sociological Liberato. Building on the influences of major cultural studies texts that I was introduced to in her class, I later combined the theory with subject Analysis of matter from film classes taught in the Department of Hispanic Studies, particularly the Latin American and Spanish Cinema courses offered Strawberry by Drs.