Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
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Teaching Nuclear Issues Through Popular Culture Texts
Social Education 82(3), pp. 149–150, 151–154 ©2018 National Council for the Social Studies The Bomb and Beyond: Teaching Nuclear Issues through Popular Culture Texts Hiroshi Kitamura and Jeremy Stoddard America’s atomic attacks on Hiroshima and Nagasaki—on August 6 and 9, 1945, of ways, but often revolves around an respectively—instantly killed some 200,000 Japanese and precipitated the end of effort to understand how and why the World War II. They also helped usher in the Cold War, a new era of global tension Truman administration unleashed a that pushed the world towards the brink of destruction. In this menacing climate, in pair of destructive weapons on a mass which the United States and the then-Soviet Union pursued a fierce international of civilians. Often a debate or delibera- rivalry, nuclear issues became central to top-level diplomacy and policymaking. tion model is used to engage students in Citizens around the world experienced a full spectrum of emotions—fear, paranoia, exploring the motives and implications rage, and hope—as they lived in this “nuclear world.” of official U.S. decision making—such as to save American lives, check Soviet Presently, nearly three decades after classroom, including films, TV shows, expansionism, or justify the two-billion- the fall of the Berlin Wall, the original video games, photography, and online dollar cost of the Manhattan Project. But nuclear arms race has subsided, but databases. These cultural texts illustrate this intellectual exercise also carries the nuclear issues remain seminal. Continued diverse societal views from different risk of reducing the experience to strate- challenges related to the development points in time. -
Copyrighted Material
Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
The Importance of Collective Visual Memories in the Representations In
Capturing the Void: The Importance of Collective Visual Memories in the Representations in Documentary Films on September 11, 2001 Jodye D. Whitesell Undergraduate Honors Thesis Department of Film Studies Advisor: Dr. Jennifer Peterson October 24, 2012 Committee Members: Dr. Jennifer Peterson, Film Studies Dr. Melinda Barlow, Film Studies Dr. Carole McGranahan, Anthropology Table of Contents: Abstract…………………………………………………………………………………….. 3 Introduction………………………………………………………………………………… 4 Part I: The Progression of Documentary Film Production………………………………… 9 Part II: September 11, 2001….…………………………………………………………….. 15 Part III: The Immediate Role of the Media………………………………………………... 18 Part IV: Collective Memories and the Media,,,……………………………………………. 25 Part V: The Turn Towards Documentary…………………………………….……………. 34 (1) Providing a Historical Record…………………………………….……………. 36 (2) Challenging the Official Story…………………………………………………. 53 (3) Memorializing the Fallen………………………………………………………. 61 (4) Recovering from the Trauma…………………………………………………... 68 Conclusion…………………………………………………………………………………. 79 Works Cited………………………………………………………………………………... 83 2 Abstract: Documentary films have long occupied a privileged role among audiences as the purveyors of truth, offering viewers accurate reproductions of reality. While this classification is debatable, the role of documentaries as vehicles for collective memory is vital to the societal reconstructions of historical events, a connection that must be understood in order to properly assign meaning to the them. This thesis examines this relationship, focusing specifically on the documentaries produced related to trauma (in this case the September 11 attacks on the United States) as a means to enhance understanding of the role these films play in the lives and memories of their collective audiences. Of the massive collection of 9/11 documentaries produced since 2001, twenty-three were chosen for analysis based on national significance, role as a representative of a category (e.g. -
PDF Van Tekst
Onze Taal. Jaargang 73 bron Onze Taal. Jaargang 73. Genootschap Onze Taal, Den Haag 2004 Zie voor verantwoording: https://www.dbnl.org/tekst/_taa014200401_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. 1 [Nummer 1] Onze Taal. Jaargang 73 4 Vervlakt de intonatie? Ouderen en jongeren met elkaar vergeleken Vincent J. van Heuven - Fonetisch Laboratorium, Universiteit Leiden Ouderen kunnen jongeren vaak maar moeilijk verstaan. Ze praten te snel, te slordig en vooral te monotoon, zo luidt de klacht. Zou dat wijzen op een verandering? Wordt de Nederlandse zinsmelodie inderdaad steeds vlakker? Twee onderzoeken bieden meer duidelijkheid. Ik heb twee zoons in de adolescente leeftijdsgroep, zo tussen de 16 en de 20. Toen ik ze nog dagelijks om me heen had (ze zijn inmiddels technisch gesproken volwassen en het huis uit), mocht ik graag luistervinken als ze in gesprek waren met hun vrienden. Dan viel op dat alle jongens, niet alleen de mijne, snel spraken, met weinig stemverheffing, en vooral met weinig melodie. Het leek wel of ze het erom deden. Een Amerikaanse collega, die elk jaar een paar weken bij mij logeert om zijn Nederlands bij te houden, gaf ongevraagd toe dat hij in het algemeen weinig moeite heeft om Nederlanders te verstaan, behalve dan mijn zoons en hun vrienden. Een paar jaar eerder was ik in een onderzoek beoordelaar van de uitspraak van 120 Nederlanders, in leeftijd variërend van puber tot bejaarde. Mij viel op dat de bejaarden zo veel prettiger waren om naar te luisteren. Niet alleen spraken ze langzamer dan de jongeren, maar vooral maakten ze veel beter gebruik van de mogelijkheden die onze taal biedt om de boodschap met behulp van het stemgebruik te structureren. -
Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P. -
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. -
Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
DOCUMENTARY FILMS Page 1 of 10
DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966)) -
Barbie Bake-Off and Risk Or Role the Apprentice Model? Documentary Pokémon Go Shorts
FEBRUARY 2017 ISSUE 59 POST-TRUTH RESEARCHING THE PAST BARBIE BAKE-OFF AND RISK OR ROLE THE APPRENTICE MODEL? DOCUMENTARY POKÉMON GO SHORTS MM59_cover_4_feb.indd 1 06/02/2017 14:00 Contents 04 Making the Most of MediaMag MediaMagazine is published by the English and Media 06 What’s the Truth in a Centre, a non-profit making Post-fact World? organisation. The Centre Nick Lacey explores the role publishes a wide range of of misinformation in recent classroom materials and electoral campaigns, and runs courses for teachers. asks who is responsible for If you’re studying English 06 gate-keeping online news. at A Level, look out for emagazine, also published 10 NW and the Image by the Centre. System at Work in the World Andrew McCallum explores the complexities of image and identify in the BBC television 30 16 adaptation of Zadie Smith’s acclaimed novel, NW. 16 Operation Julie: Researching the Past Screenwriter Mike Hobbs describes the challenges of researching a script for a sensational crime story forty years after the event. 20 20 Bun Fight: How The BBC The English and Media Centre 18 Compton Terrace Lost Bake Off to Channel 4 London N1 2UN and Why it Matters Telephone: 020 7359 8080 Jonathan Nunns examines Fax: 020 7354 0133 why the acquisition of Bake Email for subscription enquiries: Off may be less than a bun [email protected] in the oven for Channel 4. 25 Mirror, Mirror, on the Editor: Jenny Grahame Wall… Mark Ramey introduces Copy-editing: some of the big questions we Andrew McCallum should be asking about the Subscriptions manager: nature of documentary film Bev St Hill 10 and its relationship to reality. -
The Controversy Over Climate Change in the Public Sphere
THE CONTROVERSY OVER CLIMATE CHANGE IN THE PUBLIC SPHERE by WILLIAM MOSLEY-JENSEN (Under the Direction of Edward Panetta) ABSTRACT The scientific consensus on climate change is not recognized by the public. This is due to many related factors, including the Bush administration’s science policy, the reporting of the controversy by the media, the public’s understanding of science as dissent, and the differing standards of argumentation in science and the public sphere. Al Gore’s An Inconvenient Truth was produced in part as a response to the acceptance of climate dissent by the Bush administration and achieved a rupture of the public sphere by bringing the technical issue forward for public deliberation. The rupture has been sustained by dissenters through the use of argument strategies designed to foster controversy at the expense of deliberation. This makes it incumbent upon rhetorical scholars to theorize the closure of controversy and policymakers to recognize that science will not always have the answers. INDEX WORDS: Al Gore, Argument fields, Argumentation, An Inconvenient Truth, Climate change, Climategate, Controversy, Public sphere, Technical sphere THE CONTROVERSY OVER CLIMATE CHANGE IN THE PUBLIC SPHERE by WILLIAM MOSLEY-JENSEN B.A., The University of Wyoming, 2008 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2010 © 2010 William Mosley-Jensen All Rights Reserved THE CONTROVERSY OVER CLIMATE CHANGE IN THE PUBLIC SPHERE by WILLIAM MOSLEY-JENSEN Major Professor: Edward Panetta Committee: Thomas Lessl Roger Stahl Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2010 iv ACKNOWLEDGEMENTS There are many people that made this project possible through their unwavering support and love. -
A Communication Study of Contemporary Documentary Film
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 Art and Persuasion: A Communication Study of Contemporary Documentary Film Lauren Elizabeth Freeman Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Freeman, Lauren Elizabeth, "Art and Persuasion: A Communication Study of Contemporary Documentary Film" (2007). Honors Theses. 2004. https://egrove.olemiss.edu/hon_thesis/2004 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. ART AND PERSUASION: A COMMUNICATION STUDY OF CONTEMPORARY DOCUMENTARY FILM By Lauren Elizabeth Freeman A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2007 Approved by , , L Ad^or: Professor Joe Atkins Readei1p^fessoLPmch£ll££maiiuel,PhD Reader: Professor Charles Gates, PhD ©2007 Lauren Elizabeth Freeman ALL RIGHTS RESRERVED ACKNOWLEDGEMENTS The author of this paper incurs many debts of gratitude throughout the long and tedious process of completing this honors senior thesis. A special expression of gratitude goes to my thesis adviser, Professor Joseph Atkins, for his supportive direction throughout the preparation of this research project. Sincere appreciation is extended to niy thesis readers. Dr. Michelle Emanuel and Dr. Charles Gates, and to those filmmakers who shared their time and thoughts with me on documentary filmmaking. I extend my heartfelt gratitude to my family and fnends for their continued support and encouragement. -
Michael Moore: a Man on a Mission Or How Far A
Michael Moore: A Man on a Mission or How Far a Reinvigorated Populism Can Take Us Garry Watson (Cineaction 70) My focus in this essay will be on Michael Mooreʼs four documentaries – Roger and Me (1989), The Big One (1997), Bowling for Columbine (2002) and Fahrenheit 9/11 (2004) – with most of my attention being given to the first and third of these, and least to the second. These four films are significant and worth studying for a number of reasons: (i) The size of the audiences they have succeeded in reaching; (ii) the political impact they have had (on which, among other things, see Robert Brent Toplinʼs useful book on Michael Mooreʼs “Fahreneit 9/11”: How One Film Divided A Nation [2006]); (iii) and the extent to which they helped prepare the reception for such recent political documentaries as, for example, Errol Morrisʼs The Fog of War (2004), Mark Achbar and Jennifer Abbottʼs The Corporation (2005), Alex Gibneyʼs Enron: The Smartest Guys in the Room (2005), Eugene Jareckiʼs Why We Fight (2005), David Guggenheimʼs An Inconvenient Truth (2006), and Chris Paineʼs Who Killed the Electric Car? (2006). It may not be redundant to rehearse some of the facts. If Roger and Me was more successful at the box office than any documentary that preceded it, Moore went on to break the same record on two subsequent occasions – first with Bowling for Columbine, then with Fahrenheit 9/11. And as far as the latter is concerned, we get some sense of the excitement that was generated when it first screened in the US by the Foreword that John Berger wrote in 2004 for The Official “Fahrenheit 9/11” Reader (while the film was “still playing in hundreds of theaters across America”1).