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Cinema of the Dark Side Atrocity and the Ethics of Film Spectatorship
Cinema of the Dark Side Atrocity and the Ethics of Film Spectatorship Shohini Chaudhuri CHAUDHURI 9780748642632 PRINT.indd 1 26/09/2014 16:33 © Shohini Chaudhuri, 2014 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 4263 2 (hardback) ISBN 978 1 4744 0042 8 (paperback) ISBN 978 0 7486 9461 7 (webready PDF) ISBN 978 1 4744 0043 5 (epub) The right of Shohini Chaudhuri to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). CHAUDHURI 9780748642632 PRINT.indd 2 26/09/2014 16:33 Contents Acknowledgements iv List of Figures viii Introduction 1 1 Documenting the Dark Side: Fictional and Documentary Treatments of Torture and the ‘War On Terror’ 22 2 History Lessons: What Audiences (Could) Learn about Genocide from Historical Dramas 50 3 The Art of Disappearance: Remembering Political Violence in Argentina and Chile 84 4 Uninvited Visitors: Immigration, Detention and Deportation in Science Fiction 115 5 Architectures of Enmity: the Israeli–Palestinian Conflict through a Cinematic Lens 146 Conclusion 178 Bibliography 184 Index 197 CHAUDHURI 9780748642632 PRINT.indd 3 26/09/2014 16:33 Introduction n the science fiction film Children of Men (2006), set in a future dystopian IBritain, a propaganda film plays on a TV screen on a train. -
Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr
humphrey bogart's Sahara propaganda, cinema and the american character in world war ii theodore kornweibel, jr. How and why a people responds affirmatively to momentous events in the life of its nation is an intriguing question for the social historian. Part of the answer may be found in the degree to which a populace can connect such events to traditional (and often idealistic) themes in its culture, themes which have had wide currency and restatement. This kind of identification can be seen particularly in wartime; twice in this century large segments of the American population rallied around the call to preserve democracy under the guise of fighting a "war to end all wars" and another to preserve the "four freedoms." But popular perceptions of these global conflicts were not without both deliberate and unconscious manipulation in many areas of the culture, including commercial motion pictures. Hollywood produced hundreds of feature films during World War II which depicted facets of that conflict on the domestic homefront, the soil of friendly Allies and far-flung battlefields. Many of the films showed no more than a crude addition of the war theme to plots that would have been filmed anyway in peacetime, such as gangster stories and musical comedies. But other movies reached a deeper level in subtly linking the war to American traditions and ideals. Sahara,1 Columbia Pictures' biggest money-maker in 1943, starring Humphrey Bogart in a finely understated performance, is such a motion picture. Students of American culture will find Sahara and its never-filmed predecessor script, "Trans-Sahara," artifacts especially useful in ex amining two phenomena: the process of government pressure on 0026-3079/81/2201-0005S01.50/0 5 movie studios to ensure that the "approved" war. -
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Chapter I: Introduction Throughout history, there have been sporadic pockets or concentrations of intense intellectual activity around the globe. From Athens to Vienna, cities have often been associated with the historical eras in which they excelled. For example, the 5th century BC dramatists in Greece such as Aeschylus, Sophocles and Euripides helped to make Athens a leader in artistic creation during its prime. Vienna, the European capital of the music world during the 18th century, was a center of artistic creativity that included composers such as Mozart and Haydn. During the 1920s, the Weimar Republic held the distinction of being the epicenter of human thought and art, with Berlin firmly at the heart of this activity. A few of the familiar names connected to this era in German history are Thomas Mann, Albert Einstein, Theodor Adorno, Wassily Kandinsky, Lyonel Feininger, Fritz Lang, and F.W. Murnau. In addition to these individuals, many artistic and intellectual schools such as German Expressionism, the Frankfurt School, the Bauhaus, and “Der Sturm” are associated with the Weimar Republic. Socially, the period represents an equally intense atmosphere. The Weimar Republic thrived on entertainment, clubs, and night-life in general. Berlin was at the forefront of urban entertainment in Germany, rivaling the other major cities of the Western world. The nightscape of Berlin was marked by lighted signs advertising small cabaret clubs and lavish musicals. However, the streets were also lined with disabled war veterans, prostitutes, and businessmen alike, reflecting an increase of prostitution, debauchery and crime of which all are in some way connected to the unbelievable inflation that permeated all layers of social, cultural and political life in Weimar Germany during the Republic’s first few years. -
PROPAGANDA FILMS DURING the THIRD REICH by ASHLEY
PROPAGANDA FILMS DURING THE THIRD REICH by ASHLEY SCHRENK (Under the Direction of Christine Haase) ABSTRACT Films produced during the Third Reich generally fall into two categories: blatant propaganda films, which this paper terms hard-core propaganda films, or subtler, soft- core propaganda films. The first category frequently features vilification of Jews, as well as glorification of the German Volk, Heimat and of Hitler. Third Reich hard-core propaganda films portray Aryan Germans in opposition to other races, resulting in the extreme exclusion of the Other. The soft-core propaganda films are a toned down version of the hard-core propaganda films. This thesis proposes an inverse relationship between the level of inherent inconsistencies and contradictions within Third Reich films and the categorization of a film as hard-core propaganda. The greater the inconsistencies in relation to Nazi ideology, the more a film becomes soft-core propaganda and vice versa. A variety of hard and soft-core propaganda films are analyzed, and the overall effectiveness of such propaganda is examined. INDEX WORDS: Third Reich, Propaganda Ministry, Nazi film, Nazi cinema, Goebbels, Riefenstahl, Hitler, Nazi propaganda, Fascism, Fascist aesthetics, Nazi popular film, Triumph des Willens, Jud Süß, Der ewige Jude, Zu neuen Ufern, Die große Liebe, Die goldene Stadt PROPAGANDA FILMS DURING THE THIRD REICH by ASHLEY SCHRENK B.A., The University of Georgia, 2004 B.B.A., The University of Georgia, 2004 A thesis Submitted to the Graduate Faculty of The University -
Desired Ground Zeroes: Nuclear Imagination and the Death Drive Calum Lister Matheson a Dissertation Submitted to the Faculty At
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Desired Ground Zeroes: Nuclear Imagination and the Death Drive Calum Lister Matheson A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication Studies. Chapel Hill 2015 Approved by: Carole Blair Ken Hillis Chris Lundberg Todd Ochoa Sarah Sharma © 2015 Calum Lister Matheson ALL RIGHTS RESERVED ii ABSTRACT Calum Lister Matheson: Desired Ground Zeroes: Nuclear Imagination and the Death Drive (Under the direction of Chris Lundberg and Sarah Sharma) A wide variety of cultural artefacts related to nuclear warfare are examined to highlight continuity in the sublime’s mix of horror and fascination. Schemes to use nuclear explosions for peaceful purposes embody the godlike structural positions of the Bomb for Americans in the early Cold War. Efforts to mediate the Real of the Bomb include nuclear simulations used in wargames and their civilian offshoots in videogames and other media. Control over absence is examined through the spatial distribution of populations that would be sacrificed in a nuclear war and appeals to overarching rationality to justify urban inequality. Control over presence manifests in survivalism, from Cold War shelter construction to contemporary “doomsday prepping” and survivalist novels. The longstanding cultural ambivalence towards nuclear war, coupled with the manifest desire to experience the Real, has implications for nuclear activist strategies that rely on democratically-engaged publics to resist nuclear violence once the “truth” is made clear. -
Politics and Film GOVT 432 10/15
Politics and Film GOVT 432 10/15 Professor Eric Langenbacher [email protected] 687-5903 Summer 2017 First Session June 5-July 7 M,T,W,R 6:00-8:30 Office Hours: M, T 2:00-3:00 ICC 657 or by appointment The important and long-standing interplay between politics and film is the focus of this course. Three general questions characterize this examination. First, what ideological, chronological, or cultural differences mark different films focusing on a common political object, such as the American Dream or war? What accounts for these differences? Second, how political is an individual movie? How expansive should the definition of political content be? Third, how effective is the specific genre in conveying the intended political message? Are propaganda films really more effective than the indirect messages found in mainstream blockbusters? We begin with a general overview of the film-politics relationship and a brief discussion of the various perspectives and theories that illuminate the connection. Next, we look at the most obvious political films: the propaganda movies Triumph of the Will and Birth of a Nation. Next we look at the documentary genre through a contemporary production Paragraph 175 and a classic, Wiseman’s Titicut Follies. A discussion of political satire follows, focused on Chaplin’s Great Dictator and South Park: Bigger, Longer and Uncut. The next section delves into Hollywood’s image of America and American politics. The first two films revolve around the presentation of the American Dream, exemplified by Citizen Kane, and Forrest Gump, movies separated by 50 years. Then we look at the more focused theme of the image of Washington politics through Capra’s classic Mr. -
Doment Resume
DOMENT RESUME ED 033 929 TE 001 560 TITLE 3E-Flicks: Review of 35 Short Films. INSIITUTICN Arizona State Univ., Tempe. EPEA Inst. in Media and the Teaching of English. SFons Agency Office of Education (CHEW) , Washington, L.C. Pub Date 69 Note 64F EDRS Price ELKS Price MF-$0.50 HC-$3.20 DescriEtcrs Audiovisual Aids, Audiovisual Communication, *English Instruction, *Films, *Film Study, *Instructional Aids, Instructional Materials, Multimedia Instruction, Sound Films, *Teaching Guides, Thematic AFFrcach Abstract Comments about these short films, vritten by participants of the EELA Institute in Media and the Teaching of English, include an abstract of the filmos main points, a Flot synopsis, auropriate age level et the audience, strengths and veakenesses of the film, possible unit themes cr topics to be developed around the filv, a list of books and additional films that have parallel themes, and discussion questions. Also noted for each film are the running time, ccicr cr black- and -white, the distributor, and the rental fee. Cartoons, documentaries, mood pieces, animaticns, and filmed short stories are listed, but none of the films are "educational," at least not in the usual sense." (LH) @EPPINito eview of @ 3 @hort films ['Waken by the participanis of the §nsuLE.in Redia and theIReacithigof ®hglish )17 Y.S. IMMO Of 181.11 MAIM & MUM Offia* EDUCATION 11113 ROM& RAS MB MOM=EXACTLY AS KM III1* MON OR OIMAIGION °MARIAM& II. POIMS OfVal 01 OPINIONS SUM I0 1101 IMISSANY MEM WICKorna Of MCA= POSITION OR POLICY. PREFACE During the pastsummer, 16 participants in the EPMInstitute in Media the Teaching ofEnglish at Arizona and State Universityviewed and discussed35 short films. -
Narrating War in Wartime Manchukuo: a Textual Analysis of Propaganda Films Screened in Rural Areas of Japanese-Occupied Northeastern China
Narrating War in Wartime Manchukuo: A Textual Analysis of Propaganda Films Screened in Rural Areas of Japanese-Occupied Northeastern China Le Wang, The University of Tokyo, Japan The Asian Conference on Media, Communication & Film 2017 Official Conference Proceedings Abstract This research examines how propaganda films made by the Japanese colonial authorities and screened in rural areas of wartime Manchukuo portrayed the war and daily life. The focus is on Manchurian Films produced by the South Manchuria Railway Company and the Manchuria Film Association. Numerous previous studies in the field of media studies have discussed films screened in urban cinemas, which facilitated the emergence of a colonial urban culture. What has received less attention is the rural context of film screening. Manchurian Films were screened by mobile film projection units active in rural areas. Reflecting the propaganda campaigns in rural areas, the text of the films tends to describe a peaceful and prospering puppet state through portrayal of the daily life of Manchurian people. This research analyzes data from internal publications of the Manchukuo government, PR magazines, as well as video copies of actual films, and argues that Manchurian films fit within Japan’s propaganda scheme by targeting Chinese audiences with a narrative of a prosperous Manchukuo as an achievement of the war. Keywords: Manchurian Films, mobile film projection units, Manchukuo iafor The International Academic Forum www.iafor.org Introduction Japan’s Kwantung Army occupied northeastern China and founded the puppet state of Manchukuo in 1932. In order to govern the ethnic minorities of this land, the Japanese authorities tailored their propaganda methods to appeal to the variety of ethnic groups, including through film screening tours in rural areas. -
Nazi War Crimes, US Intelligence and Selective Prosecution at Nuremberg
Nazi War Crimes, US Intelligence and Selective Prosecution at Nuremberg Controversies regarding the role of the Office of Strategic Services Nazi War Crimes, US Intelligence and Selective Prosecution at Nuremberg provides a balanced but critical discussion of the contribution of American intelligence officials to the Nuremberg war crimes trials process. It discusses the role of such officials in mobilising the unique resources of a modern intelligence agency in order to provide a range of important trial evidence and undertake controversial plea-bargaining negotiations. The book also reviews recently declassified US intelligence documents to provide new details of how senior Nazi war criminals, such as SS-General Karl Wolff, were provided with effective immunity deals, partly as a reward for their wartime cooperation with US intelligence officials, including Allen Dulles, former CIA Director. This historical case study suggests that both war crimes prosecutors and intelligence officials can engage in mutually beneficial collaborations. The proviso, Michael Salter argues, is that both sides need to recognise and appreciate the problems that may arise from the fact that these institutitions are required to operate according to different, and in some cases contradictory, agendas. Michael Salter is Professor of Law at Lancashire Law School, UK. Nazi War Crimes, US Intelligence and Selective Prosecution at Nuremberg Controversies regarding the role of the Office of Strategic Services Michael Salter First published 2007 by Routledge-Cavendish 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN, UK Simultaneously published in the USA and Canada by Routledge-Cavendish 270 Madison Ave, New York, NY 10016 A GlassHouse book Routledge-Cavendish is an imprint of the Taylor & Francis Group, an informa business © 2007 Michael Salter This edition published in the Taylor & Francis e-Library, 2007. -
The Influence of Anti-Communist and Anti-Slavic Governmental Propaganda in Hollywood Cinema in the Decade Following WWII
The AlexAndriAn IV, no. 1 (2015) Don’t Believe Everything You See at the Movies: The Influence of Anti-Communist and Anti-Slavic Governmental Propaganda in Hollywood Cinema in the Decade Following WWII Megan Phillips "Don't Believe Everything You See at the Movies" is an evaluation of the American film industry in the decade following WWII. It analyzes government involvement in the private film sector and how the film industry responded to pressure to produce films with pro-American stance as well as themes of anti-Soviet and anti-communist sentiment. The essay argues that these films were the direct result of government involvement in the lives/careers of the actors, actresses, writers, producers, and directors of the time, and how their reaction came to shape American film culture throughout the decade. Movies, like the theatre productions that preceded them, are largely based on the suspension of disbelief in their viewers. This means that in order to enjoy a movie, one must immerse oneself in the world presented on screen and, for that moment, accept this reality rather than their own. This tactic of self-imposed selected ignorance for the purpose of entertainment has acted to hold moviegoers captive for nearly a century. A movie’s reality can include a variety of different perspectives based on the motivations and perspectives of the actors, producers, directors, and writers. Film always has a purpose. The American government actively intervened in the film industry in the 1940s and ‘50s in order to denounce communism and promote “American values”. The intent of this paper is to illustrate to the reader that this deliberate intervention had a direct influence on the way that Hollywood would present their movies to the American people over the next decade, using positive reinforcement or negative censorship of their Constitutional rights to expression. -
Silva Iaponicarum Fasc. 43/44/45/46
SILVA IAPONICARUM 日林 FASC. XLIII/XLIV/XLV/XLVI 第四十三・四十四・四十五・四十六 号 SPRING/SUMMER/AUTUMN/WINTER 春・夏・秋・冬 2015 SPECIAL EDITION POLISH FILM STUDIES AND JAPANESE CINEMA edited by Krzysztof Loska and Dawid Głownia Posnaniae, Cracoviae, Varsoviae, Kuki MMXV ISSN 1734-4328 2 Drodzy Czytelnicy. Niniejszy specjalny zeszyt Silva Iaponicarum 日林 zawiera artykuły zebrane od polskich filmoznawców specjalizuj ących si ę w kinie japo ńskim. Cieszymy si ę, że mo żemy przedstawi ć w ten sposób najnowsze prace zarówno uznanych polskich badaczy japo ńskiego kina, jak i filmoznawców pokolenia młodszego, znajduj ących si ę u progu ich kariery akademickiej. Nawet wydanie filmowe specjalne naszego kwartalnika pozostaje wielow ątkowe. St ąd jako jedynego klucza porz ądkowania artykułów w trakcie jego kompilacji zastosowano porz ądek alfabetyczny elementów składowych, według nazwisk autorów artykułów. Serdecznie dzi ękujemy autorom wszystkich prac zamieszczonych w tym wydaniu Silva Iaponicarum za gotowo ść do ich publikacji w jednym specjalnym zeszycie naszego kwartalnika oraz za efektywn ą współprac ę w procesie opracowania tekstów. Redaktorzy Kolegium redakcyjne Kraków – Pozna ń –Toru ń – Warszawa – Kuki grudzie ń 2015 3 Dear Readers, This special issue of Silva Iaponicarum 日 林 contains articles received from Polish researchers focusing on Japanese film and cinema studies. We are delighted and honoured to present the most recent works of both the established representatives of Polish academics of the Japanese film studies together with conctributions from younger generation of scholars, who are at the begining of their academic careers. The special film fascicle is very diverse in terms of topics. This is why in the process of the compilation we decided to introduce the alphabetical order of papers (by the authors’ names) in the fascicle. -
CLASSROOM GUIDE Teaching the Film
from fact to fiction Grades 6 - 12 CLASSROOM GUIDE USING DISCUSSION POST-VIEWING MEDIA LITERACY SUPPLEMENTAL THIS GUIDE QUESTIONS & ACTIVITY RESOURCES RESOURCES POST-VIEWING ABOUT ACTIVITIES THE FILM Collected from around the world, this compilation of short films explores a variety of storytelling techniques, from documentaries exploring the heart and soul of small town Teaching America to animated films using traditional hand-drawn and stop-motion techniques to bring their characters to life. This collection gives students the perfect smorgasbord of all the Film: the SFFILM Festival has to offer. Total runtime 75 minutes. This study guide is intended to flexibly support educators in preparing for and following up on a class screening USING of the Fact to Fiction program. Support materials are intended to facilitate group discussion, individual and collaborative creative exercise, subject-based learning and access to resources for further investigation of material. Educators are encouraged THIS GUIDE: to adapt and abridge the content as necessary to meet their unique learning objectives and circumstances. All SFFILM Education materials are developed in alignment with California educational standards for media literacy. SFFILM Education welcomes feedback and questions on all printed study materials. Please direct all comments and queries to Keith Zwölfer, Associate Director of Education: SFFILM 39 Mesa Street, Suite 110 - The Presidio San Francisco, CA 94129-1025 [email protected] 415.561.5040 DISCUSSION QUESTIONS & SYNOPSIS POST-VIEWING ACTIVITY MEDIA LITERACY SUPPLEMENTAL RESOURCES Series DISCUSSION guide 1. Which film in this series was your favorite? Why? • How do the citizens of Webster City, Iowa come together to reshape their town’s identity? 2.