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Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit itvs.org/pressroom/photos/ For the program companion website, visit pbs.org/independentlens/dreamindoubt “A DREAM IN DOUBT” WHEN YOU LOOK LIKE AMERICA’S ENEMY, IS THE DREAM WORTH THE PRICE? Film to Premiere on the PBS Series Independent Lens Tuesday, May 20, 2008 (San Francisco, CA)—A story of immigrant survival, A DREAM IN DOUBT focuses on Sikh Americans living in Phoenix, Arizona, in a close-knit community of families who experienced a wave of frightening hate crimes in the aftermath of 9/11. Rana Singh Sodhi, a 36-year-old Indian immigrant, finds his life forever altered by the 9/11 terror attacks, not because he knew any victims of the attack, but because his turban and beard became symbols of the terrorists who attacked America. Rana’s eldest brother, Balbir—who also was bearded and wore a turban—was America’s first post-9/11 hate crime murder victim, gunned down at his gas station by a man who claimed he was rooting out a terrorist. A DREAM IN DOUBT will be presented on Tuesday, May 20, at 10:00 PM (check local listings) on the Emmy® winning PBS series Independent Lens, hosted by Terrence Howard. As if one murder was not enough, Rana’s next-eldest brother, Sukhpal, was shot and killed in mysterious circumstances less than a year later. -
Six Projects Selected for 2013 Rawi Screenwriters Lab in Jordan
FOR IMMEDIATE RELEASE Media Contact: November 1, 2013 Casey De La Rosa 310.360.1981 [email protected] Six Projects Selected for 2013 Rawi Screenwriters Lab in Jordan Led By The Royal Film Commission-Jordan in Consultation with Sundance Institute, Lab Supports Emerging Filmmakers in Egypt, Jordan, Lebanon and Palestine Los Angeles, CA — Screenwriting fellows for the ninth edition of the Rawi Screenwriters Lab (November 1-5) were announced today by The Royal Film Commission-Jordan and Sundance Institute. The Lab is an example of Sundance Institute’s longstanding work to support emerging filmmakers around the world. Former Rawi Fellows include Cherien Dabis (Amreeka), Mohammed Al Daradji (Son of Babylon), Sally El Hosaini (My Brother The Devil) and Haifaa Al Mansour (Wadjda). Launched in 2005, the Lab is led by the Royal Film Commission of Jordan (RFC) and managed by Deema Azar, in consultation with Sundance Institute’s Feature Film Program, under the direction of Michelle Satter. The Lab provides an opportunity for filmmakers from the region to develop their work under the guidance of accomplished Creative Advisors—this year including Jeremy Pikser (Bulworth), Najwa Najjar (Pomegranates & Myrrh), Mo Ogrodnick (Deep Powder). Aseel Mansour (Line Of Sight), Rose Troche (The L Word, The Safety Of Objects) and Jerome Boivin (La cloche a sonné)—in an environment that encourages storytelling at the highest level. George David, General Manager of the RFC, said, “For the ninth consecutive year, RAWI continues to unveil the regions’ exceptional talent and narratives as part of the RFC’s goal to champion a new generation of Arab film professionals who will represent our noble culture and values, our triumphs and struggles and our hopes and dreams through their films.” Paul Federbush, International Director of the Sundance Institute Feature Film Program, said, “We’ve had the privilege to help give voice to some extraordinary new filmmakers in the region over our nine-year partnership with the RFC. -
Itvs COMMUNITY Classroom: Educator Guide
ITVS COMMUNITY CLASSRoom: EDucATOR GUIDE By They are moral conservatives who stay out of politics, but they won a record number of court cases expanding freedom for everyone. They refuse blood transfusions on religious grounds, but they embrace the science behind bloodless surgery. In Nazi Germany, they could fight for Hitler or go to the concen- tration camps. They chose the camps. Following two families who stand firm for their controversial and misunderstood Christian faith, KNOCKING reveals how Jehovah's Witnesses have helped shape history beyond the doorstep. WWW.PBS.ORG/INDEPENDENTLENS/CLASSROOM ITVS COMMUNITY CLASSROOM KNOCKING tabLE OF COntents How to Use This Guide & Film 3 About the Film 6 Activity 1: Civil Rights: The Activist 7 History of Jehovah’s Witnesses Activity 2: When Ideologies Collide 11 Medical Ethics and Religious Beliefs Activity 3: Religious Tolerance in America 15 Activity 4: Standing for What Your Believe 19 Student Hand-outs 22 Teacher Hand-outs 28 National Standards 34 Guide Credits 35 ITVS COMMUNITY CLASSROOM is an educational resource providing new documentary video content and accompanying curricular materials, lesson plans, and homework assignments, to high school and community college instructors and youth-serving community-based organizations. Video content includes up to 15 minutes excerpted from an independently produced documentary film from the Emmy Award-winning PBS series Independent Lens. Content is grouped into subject specific segments that correspond to lesson plans and educational activities. All CLASSROOM materials are designed with key education standards in mind, and are available, along with the video content, on a DVD-ROM and online. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
The Watermelon Woman (Cheryl Dunye, 1997; 90 Minutes)
MALS 5800 Contemporary Cinema Studies/Bonner The Watermelon Woman (Cheryl Dunye, 1997; 90 minutes) Writer: Cheryl Dunye Editor: Annie Taylor Producers: Barry Simar, Alexandra Juhasz Original score: Paul Shapiro Cinematography: Michelle Crenshaw Abstract (from box cover): Set in Philadelphia, The Watermelon Woman is the story of Cheryl, a twenty-something black lesbian struggling to make a documentary about Fae Richards, a beautiful and elusive 1930s black film actress, popularly know as "The Watermelon Woman." While uncovering the meaning of the Watermelon Woman's life, Cheryl experiences a total upheaval in her own personal life. Her love affair with Diana, a beautiful white woman, and her interactions with the gay and black communities are subject to the comic yet biting criticism of her best friend Tamara. Meanwhile, each answer Cheryl discovers about the Watermelon Woman evokes a flurry of new questions about herself and her own future. At the film’s conclusion, the Watermelon Woman is clearly a metaphor for Cheryl's search for identity, community, and love. Cast: Cheryl (Cheryl Dunye) Shirley (Cheryl Clarke) Diana (Guinevere Turner) Mrs Dunye (Irene Dunye) Tamara (Valarie Walker) Lee (Brian Freeman) Herself (Camille Paglia) Volunteer (Toshi Reaagon) Fae Richards (Lisa Marie Bronson) Volunteer (Sarah Schulman) Questions for Discussion: 1. How is Dunye using direct address here? Does it differ from its use in other films we’ve studied? And if so, how? 2. How does The Watermelon Woman combine aspects of both documentary and narrative filmmaking? Why does Dunye select these modes for her film, and what are the effects for the spectator? 3. -
University of Florida Thesis Or Dissertation Formatting
TOWARD A QUEER GAZE: CINEMATIC REPRESENTATIONS OF QUEER FEMALE SEXUALITY IN EXPERIMENTAL/AVANT-GARDE AND NARRATIVE FILM By ERIN CHRISTINE TOBIN A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2010 1 © 2010 Erin Christine Tobin 2 TABLE OF CONTENTS page ABSTRACT ..................................................................................................................... 4 CHAPTER 1 INTRODUCTION ...................................................................................................... 5 2 DESTABILIZING THE (MALE) GAZE IN FEMINIST LESBIAN AVANT-GARDE CINEMA .................................................................................................................. 11 Early Feminist Film Theory and the Theoretical Development of the Gaze ............ 11 Lacan’s Influence on Psychoanalytic Feminist Film Theory .................................... 12 Je tu il elle (1974) ................................................................................................... 22 On-Screen Sex Acts and Lesbian Representability ................................................ 27 Hide and Seek (1996) ............................................................................................. 29 3 BLURRING (IN)DIFFERENCE IN THE (BI) SEXUAL MID LIFE CRISIS FILM ....... 34 Lianna (1983) .......................................................................................................... 44 Desert Hearts -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Teaching Social Studies Through Film
Teaching Social Studies Through Film Written, Produced, and Directed by John Burkowski Jr. Xose Manuel Alvarino Social Studies Teacher Social Studies Teacher Miami-Dade County Miami-Dade County Academy for Advanced Academics at Hialeah Gardens Middle School Florida International University 11690 NW 92 Ave 11200 SW 8 St. Hialeah Gardens, FL 33018 VH130 Telephone: 305-817-0017 Miami, FL 33199 E-mail: [email protected] Telephone: 305-348-7043 E-mail: [email protected] For information concerning IMPACT II opportunities, Adapter and Disseminator grants, please contact: The Education Fund 305-892-5099, Ext. 18 E-mail: [email protected] Web site: www.educationfund.org - 1 - INTRODUCTION Students are entertained and acquire knowledge through images; Internet, television, and films are examples. Though the printed word is essential in learning, educators have been taking notice of the new visual and oratory stimuli and incorporated them into classroom teaching. The purpose of this idea packet is to further introduce teacher colleagues to this methodology and share a compilation of films which may be easily implemented in secondary social studies instruction. Though this project focuses in grades 6-12 social studies we believe that media should be infused into all K-12 subject areas, from language arts, math, and foreign languages, to science, the arts, physical education, and more. In this day and age, students have become accustomed to acquiring knowledge through mediums such as television and movies. Though books and text are essential in learning, teachers should take notice of the new visual stimuli. Films are familiar in the everyday lives of students. -
The New Americans
TELEVISUALISING TRANSNATIONAL MIGRATION: THE NEW AMERICANS Alan Grossman and Áine O’Brien TELEVISUALISING TRANSNATIONAL MIGRATION: THE NEW AMERICANS Alan Grossman and Áine O’Brien Originally published in 2007: Grossman and O'Brien (eds) Projecting Migration: Transcultural Documentary Practice, Columbia University Press, NY (Book/DVD). [Combined DVD/Book engaged with questions of migration, mobility and displacement through the prism of creative practice. Columbia University Press, NY] I The title of this book [The New Americans] and the documentary series upon which it reflects proclaims that something is fundamentally different about our most recent wave of immigration The racial and ethnic identity of the United States is ‐ once again ‐ being remade. The 2000 Census counts some 28 million first‐generation immigrants among us. This is the highest number in history – often pointed out by anti‐immigrant lobbyists ‐ but it is not the highest percentage of the foreign‐born in relation to the overall population. In 1907, that ratio was 14 percent; today, it is 10 percent. Yet there is the pervasive notion that something is occurring that has never occurred before, or that more is at stake than ever before. And there is a crucial distinction to be made between the current wave and the ones that preceded it. As late as the 1950s, two‐thirds of immigration to the US originated in Europe. By the 1980s, more than 80 percent came from Latin America and Asia. As at every other historical juncture, when we receive a new batch of strangers, there is a reaction, a kind of political gasp that says: We no longer recognize ourselves. -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
4Ème Trimestre 2020 Ccaattaalloogg
CATA L O G U E de A a Z uuee 4ème trimestre 2020 CCaattaalloogg 3, Avenue Stephen Pichon 75013 Paris Tél3, Avenue : 01 45Stephen 87 Pichon04 45 75013 | Paris Fax: 01 43 31 00 98 [email protected]él : 01 45 87 04 45 | Fax: 01 43 31 00 | 98 www.swankfilms.com [email protected] | www.swankfilms.com FRA96303 CATA L O G U E SWA N K de A a Z Titres Studio Année Titres Studio Année (500) jours ensemble The Walt Disney Company 2009 (S)ex List The Walt Disney Company 2011 # Pire soirée Sony 2017 007 Spectre MGM 2015 100, Les - Saison 1 Warner Bros. 2014 100, Les - Saison 2 Warner Bros. 2014 100, Les - Saison 3 Warner Bros. 2016 100, Les - Saison 4 Warner Bros. 2017 100, Les - Saison 5 Warner Bros. 2018 100, Les - Saison 6 Warner Bros. 2019 10 000 BC Warner Bros. 2008 1001 pattes The Walt Disney Company 1998 10 bonnes raisons de te larguer The Walt Disney Company 1999 10 Cloverfield Lane Paramount 2016 11'09''01: Onze minutes, neuf secondes, un cadre StudioCanal 2002 11 Commandements, Les Pathé Distribution 2003 11ème Heure, La Warner Bros. 2007 125 rue Montmartre Pathé Distribution 1959 127 heures Pathé Distribution 2010 12 chiens de Noël, Les First Factum LLC 2012 12 Rounds The Walt Disney Company 2009 13 Fantômes Sony 2001 13 fantômes de Scoobydou (Les) Warner Bros. 1985 13 hours Paramount 2016 15h17 pour Paris, Le (WB) Warner Bros. 2017 1900 Paramount 1976 1941 Sony 1979 1969 MGM 1988 1984 MGM 1984 20:30:40 Sony 2004 20 000 ans sous les verrous Warner Bros.