DOCSLIB.ORG

The World Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The World Cinema WORLD CINEMA Streaming Video Collection More than 740 classic and contemporary feature films from Africa, Asia, Europe, Latin America, the Caribbean, the Middle East, and the United States. This unique collection includes the best of the silent • Unlimited access from any location— era, groundbreaking international directors, American on-site or off and European masterpieces from the mid-20th century, • Public performance rights and no award-winning contemporary films from Global Lens, copyright infringement worries and films from Africa and the African diaspora from ArtMattan Productions. The collection shines a light on • Includes masterpieces and award the history of cinema while also providing a glimpse winners directed by: into the cultures and issues of countries around the Fritz Lang Ousmane Sembène world, making it perfect for populations with Georges Méliès Federico Fellini diverse cultures and multicultural programs. Jean Renoir Roberto Rossellini All foreign language Luis Buñuel films are accompanied Zhang Yimou by English subtitles. The Akira Kurosawa King Hu World Cinema Collection Yasujiro Ozu Glauber Rocha is an exciting compan- Sergei Eisenstein Yilmaz Güney ion to Access Video On Alfred Hitchcock Satyajit Ray Demand—the ultimate streaming video resource Ida Lupino Roy William Neill for your entire community. Michael Powell Mahamat Saleh Ask for a free trial of both Dana Rotberg Haroun today! Frank Capra …and many more! Some World Cinema titles contain mature themes or content; viewer discretion is advised. CALL: (800) 322-8755 [email protected] FREE TRIAL: www.Infobase.com/Trial FAX: (212) 313-9456 www.Infobase.com • www.Films.com 1018 More than 740 feature films from around the globe. Contact us for a FREE TRIAL today! WORLD CINEMA Streaming Video Collection Soviet, Eastern European, and Chinese-language film—the 1993 Highlights include: Central Asian film—10 films by Sergei Cannes Palme d’Or winner Farewell My Eisenstein (including Battleship Potemkin, Concubine (Chen Kaige), Spring in a Small October, Strike, and Ivan the Terrible), Town (Fei Mu), films by King Hu (Dragon and award-winning contemporary films Gate Inn, Touch of Zen, The Fate of Lee from Kyrgyzstan, Kazakhstan, Tajikistan, Khan, and Raining in the Mountain), Yugoslavia, Bosnia, Croatia, Albania, Zhang Yimou’s most famous films (The Serbia, Macedonia, and Georgia Story of Qiu Ju, Red Sorghum, and Ju (including When Father Was Away Dou), as well as films by Tsai Ming-Liang on Business, Fine Dead Girls, and (The River and Vive L’Amour). A Wonderful Night in Split). Latin American film—classics from British film—the pre-Hollywood work Glauber Rocha (Black God, White Devil; German film—Fritz Lang’s Metropolis and of major British directors like Alfred Antonio Das Mortes; and Entranced M, Josef Von Sternberg’s The Blue Angel, Hitchcock (including The 39 Steps, The Earth), 12 of Luis Buñuel’s Mexico-based Walter Ruttmann’s Berlin: Symphony of a Lady Vanishes, and The Man Who Knew productions (including Cannes Palme Metropolis, multiple films by F. W. Murnau Too Much) and Michael Anderson d’Or winner Viridiana, The Exterminating and G. W. Pabst (including Pandora’s Box (1984 and The Naked Edge). Angel, and Simon of the Desert), and and Diary of a Lost Girl), as well as films award-winning films by directors from by Paul Leni, Robert Siodmak, and Robert Mexico, Brazil, Columbia, Argentina, Wiene. Uruguay, Peru, Cuba, Chile, and Ecuador. French film—Georges Méliès’s seminal Turkish and Middle Eastern film—seven work A Trip to the Moon, as well as films films by Turkish director Yilmaz Güney by Jean Renoir (Rules of the Game and (including Cannes Palme d’Or winner Diary of a Chambermaid), Luis Buñuel’s The Way a.k.a. Yol, and Hope a.k.a. Umut) France-based work (including An as well as award-winning films from Iran, Andalusian Dog, Tristana, and The Iraq, Lebanon, Egypt, Israel, and Palestine Golden Age), and René Clair (The Million). African film—Cairo Station by Youssef (including The Kite, The White Meadows, Chahine, six films by Ousmane Sembène and Toll Booth). Japanese film—16 films by Akira (including Black Girl a.k.a. La Noire Kurosawa (including Rashomon, Drunken de…, and The Curse a.k.a. Xala), two Angel, and Stray Dog), 21 films by films by Flora Gomes (Those Whom Kenji Mizoguchi (including The Story of Death Refused and Tree of Blood), and the Last Chrysanthemums, Sansho the acclaimed contemporary films. Bailiff, and Ugetsu), 16 films by Yasujiro Ozu (including Tokyo Story; I Was Born, Italian film—classics from Vittorio De But…; and Late Spring), and films by Sica (including The Bicycle Thief and contemporary directors such as Juzo Itami Two Women), Federico Fellini (including and Kazuyoshi Okuyama. La Dolce Vita and Variety Lights), and Roberto Rossellini (including Paisan; Caribbean film—contemporary films American film—multiple titles from Rome, Open City; and Journey to Italy), from Curaçao, Cuba, Haiti, and Trinidad Buster Keaton (including The General as well as films by Luchino Visconti, and Tobago distributed by ArtMattan and Steamboat Bill Jr.), D. W. Griffith Michelangelo Antonioni, and Giuseppe Productions, a leading distributor of films (including The Birth of a Nation and De Santis. from the African diaspora. Intolerance), Charlie Chaplin, and others representing the best of early American Indian film—14 films by Satyajit Ray cinema, plus films by Douglas Sirk, Alfred (including Pather Panchali, The World of Hitchcock, Frank Capra, Ida Lupino, Apu, Aparajito, and The Big City), as well Orson Welles, Busby Berkeley, and more as films by Adoor Gopalakrishnan, Partho covering the golden age of Hollywood. Sen-Gupta, and Rajesh Shera. CALL: (800) 322-8755 [email protected] FREE TRIAL: www.Infobase.com/Trial FAX: (212) 313-9456 www.Infobase.com • www.Films.com 1018.
Load more

Recommended publications
  • Hugo Study Notes
    Hugo Directed by: Martin Scorsese Certificate: U Country: USA Running time: 126 mins Year: 2011 Suitable for: primary literacy; history (of cinema); art and design; modern foreign languages (French) www.filmeducation.org 1 ©Film Education 2012. Film Education is not responsible for the content of external sites SYNOPSIS Based on a graphic novel by Brian Selznick, Hugo tells the story of a wily and resourceful orphan boy who lives with his drunken uncle in a 1930s Paris train station. When his uncle goes missing one day, he learns how to wind the huge station clocks in his place and carries on living secretly in the station’s walls. He steals small mechanical parts from a shop owner in the station in his quest to unlock an automaton (a mechanical man) left to him by his father. When the shop owner, George Méliès, catches him stealing, their lives become intertwined in a way that will transform them and all those around them. www.hugomovie.com www.theinventionofhugocabret.com TeacHerS’ NOTeS These study notes provide teachers with ideas and activity sheets for use prior to and after seeing the film Hugo. They include: ■ background information about the film ■ a cross-curricular mind-map ■ classroom activity ideas – before and after seeing the film ■ image-analysis worksheets (for use to develop literacy skills) These activity ideas can be adapted to suit the timescale available – teachers could use aspects for a day’s focus on the film, or they could extend the focus and deliver the activities over one or two weeks. www.filmeducation.org 2 ©Film Education 2012.
    [Show full text]
  • APPROVED PLANT LIST Midtown Alliance Tree Well Adoption Program
    APPROVED PLANT LIST Midtown Alliance Tree Well Adoption Program Midtown Alliance launched the Tree Well Adoption program with the primary goal of enriching the experience of Midtown’s workers and residents while encouraging sustainability through the use of low-water, urban tolerant plant species. This list of plants was created to aid individuals and organizations in selecting plant material to plant in their adopted tree wells. This plant list is intended to encourage individual character in the tree wells, rather than restrict creativity in the selection of plants. The plants on the approved list were selected based on the following criteria: • Perennial. All plants listed are perennial, meaning they last for two or more growing seasons. Once established, these plants will require less water to maintain than annuals. • Heat tolerant. Plants in tree wells are exposed to high temperatures caused by vehicles and heat reflected from surrounding buildings, asphalt, and other urban surfaces. They must also be tolerant to high daytime temperatures, typical of Atlanta’s summer months, and cold hardy in the winter months. Atlanta is located in USDA Plant Hardiness Zone 7b/8a. • Water wise. Urban tree wells are surrounded by impervious surfaces and thus, are highly susceptible to periods of drought. Suitable plants must be able to survive periods of low rainfall. • Pollution tolerant. Vehicle exhaust may leave deposits and pollutants on plant foliage, which can kill sensitive plants. • Encourage wildlife. Flowering plants attract insects such as butterflies while others provide food sources for birds and other wildlife. • Grown locally. Many of the plants listed are native to the Atlanta area, and all can be found at local nurseries.
    [Show full text]
  • Kore-Eda Event Notes
    Family Life with Kore-eda Hirokazu Introduction their application in stories about ‘ordinary’ Japanese Kore-eda Hirokazu (born Tokyo, 1962) is currently the families coping with the move from tradition to leading Japanese director in the international film modernity in contemporary Japan that appears to be world. His last few films have seen his popularity rise Kore-eda’s inspiration. in Japan and his films have been increasingly welcomed at major film festivals. In 2018, his latest Kore-eda has also been linked to directors from film Shoplifters won the Palme d’Or, the top prize at Taiwan such as Hou Hsiao-hsien, Edward Yang and, Cannes Film Festival. Like some of his earlier films, it more controversially, Tsai Ming-liang. These directors opened at No 1 at the Japanese box office in June are part of the ‘Taiwanese New Cinema’ which first 2018 and made around $38 million worldwide. appeared in the 1980s, making a link between the 1950s Japanese masters and Kore-eda. Taiwanese Originally a documentarist working in television, Kore- film has maintained some links to Japanese film eda moved into fiction features with Maborosi in 1995 culture, even though the Japanese colonial and has since made a further 12 cinema features as occupation of Formosa/Taiwan ended in 1945. We’ll director and often writer and film editor as well. He look at a short extract from Hou Hsiao-hsien’s Café has also produced films. Although he has made forays Lumière (2003). Kore-eda has also cited Ken Loach as into several different genres, Kore-eda’s films often an influence.
    [Show full text]
  • Fantasy Commentator EDITOR and PUBLISHER: CONTRIBUTING EDITORS: A
    Fantasy Commentator EDITOR and PUBLISHER: CONTRIBUTING EDITORS: A. Langley Searles Lee Becker, T. G. Cockcroft, 7 East 235th St. Sam Moskowitz, Lincoln Bronx, N. Y. 10470 Van Rose, George T. Wetzel Vol. IV, No. 4 -- oOo--- Winter 1982 Articles Needle in a Haystack Joseph Wrzos 195 Voyagers Through Infinity - II Sam Moskowitz 207 Lucky Me Stephen Fabian 218 Edward Lucas White - III George T. Wetzel 229 'Plus Ultra' - III A. Langley Searles 240 Nicholls: Comments and Errata T. G. Cockcroft and 246 Graham Stone Verse It's the Same Everywhere! Lee Becker 205 (illustrated by Melissa Snowind) Ten Sonnets Stanton A. Coblentz 214 Standing in the Shadows B. Leilah Wendell 228 Alien Lee Becker 239 Driftwood B. Leilah Wendell 252 Regular Features Book Reviews: Dahl's "My Uncle Oswald” Joseph Wrzos 221 Joshi's "H. P. L. : 4 Decades of Criticism" Lincoln Van Rose 223 Wetzel's "Lovecraft Collectors Library" A. Langley Searles 227 Moskowitz's "S F in Old San Francisco" A. Langley Searles 242 Nicholls' "Science Fiction Encyclopedia" Edward Wood 245 Hoban's "Riddley Walker" A. Langley Searles 250 A Few Thorns Lincoln Van Rose 200 Tips on Tales staff 253 Open House Our Readers 255 Indexes to volume IV 266 This is the thirty-second number of Fantasy Commentator^ a non-profit periodical of limited circulation devoted to articles, book reviews and verse in the area of sci­ ence - fiction and fantasy, published annually. Subscription rate: $3 a copy, three issues for $8. All opinions expressed herein are the contributors' own, and do not necessarily reflect those of the editor or the staff.
    [Show full text]
  • Italian Cinema As Literary Art UNO Rome Summer Study Abroad 2019 Dr
    ENGL 2090: Italian Cinema as Literary Art UNO Rome Summer Study Abroad 2019 Dr. Lisa Verner [email protected] COURSE DESCRIPTION: This course surveys Italian cinema during the postwar period, charting the rise and fall of neorealism after the fall of Mussolini. Neorealism was a response to an existential crisis after World War II, and neorealist films featured stories of the lower classes, the poor, and the oppressed and their material and ethical struggles. After the fall of Mussolini’s state sponsored film industry, filmmakers filled the cinematic void with depictions of real life and questions about Italian morality, both during and after the war. This class will chart the rise of neorealism and its later decline, to be replaced by films concerned with individual, as opposed to national or class-based, struggles. We will consider the films in their historical contexts as literary art forms. REQUIRED TEXTS: Rome, Open City, director Roberto Rossellini (1945) La Dolce Vita, director Federico Fellini (1960) Cinema Paradiso, director Giuseppe Tornatore (1988) Life is Beautiful, director Roberto Benigni (1997) Various articles for which the instructor will supply either a link or a copy in an email attachment LEARNING OUTCOMES: At the completion of this course, students will be able to 1-understand the relationship between Italian post-war cultural developments and the evolution of cinema during the latter part of the 20th century; 2-analyze film as a form of literary expression; 3-compose critical and analytical papers that explore film as a literary, artistic, social and historical construct. GRADES: This course will require weekly short papers (3-4 pages, double spaced, 12- point font); each @ 20% of final grade) and a final exam (20% of final grade).
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • East-West Film Journal, Volume 3, No. 2
    EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi­ ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa­ nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9).
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • Master Syllabi
    PELLISSIPPI STATE TECHNICAL COMMUNITY COLLEGE MASTER SYLLABUS INTRODUCTION TO FILM STUDIES HUM 2810 Class Hours: 3.0 Credit Hours: 3.0 Laboratory Hours: 0.0 Date Revised: Spring 03 Catalog Course Description: An overview of film history using selected world cinema feature films. Basic elements of film expression for understanding and analyzing narrative cinema. Some research is required. Entry Level Standards: Students must be able to read and write at the college level. Prerequisites: None Corequisites: None Textbook(s) and Other Reference Materials Basic to the Course: Text: Understanding Movies Films: in Media Center I. Week/Unit/Topic Basis: Week Topic 1 Note: Different film genres may be studied each semester. The following schedule outlines the classic mystery film genre. Introduction to course and syllabus - Best 100 films- Why study film? Various approaches to film study - Detective/mystery/crime genre in films; Technological factors behind film - Lumiere films (1895) - Melies film (1905); Homework: Read Understanding Movies, pages xi-17 Discuss Film Classification and Shots; Discuss factors in "Formalist Analysis of Classic Film Style "(handout); Screening: Musketeers of Pig Alley (1912, D.W. Griffith) 18 min.; Homework: Read pages 133-154, "Editing" 2 Discuss Continuity and Cutting; "Hollywood Behind the Badge" (police, crime, mystery genre films); Schedule a research paper; Homework: Read 112-123, "The Moving Camera" Oral research report (D.W. Griffith, Buster Keaton, Charlie Chapman); Discuss 7 Moving Camera Shots, etc.; Screening:
    [Show full text]
  • Title Call # Category
    Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine
    [Show full text]
  • The Odyssey of Fellini Kayla Knuth
    ISSUE #1 | JULY 2020 The Odyssey of Fellini Kayla Knuth Making raw cinematic artistry work on the big screen can be extremely challenging, and directors such as Federico Fellini meet that challenge by giving us unique films, each with a clear vision. There are many masterful auteurs within the film industry, but there is something about Fellini’s good-natured style that truly engages me, along with how he incorporates elements of both reality and fantasy in iconic films such as La Strada (1953), La Dolce Vita (1961), and 8 ½ (1963). Not everyone is capable of digging deeper into what the artist is actually saying, and many are too quick to make harsh judgements about what they see rather than what they interpret. This is another reason why his film work interests me. I enjoy the “chase” that helps me provide a deeper analysis of what certain scenes in his films actually symbolize. This makes me pay closer attention to the films, and I find myself rewinding scenes, taking a step back to investigate the meaning of what I’m seeing. Almost all of Fellini’s films feature a dominant protagonist character with qualities to which the audience can at least secretly relate. Some of Fellini’s most striking cinematic moments are memorable because of characters that tend to stick with you even when the films become unclear at times. In addition, the artistry, passion, zest for life, and inven- tiveness on display in his filmmaking help us appreciate a wide range of possibilities for cinematic representation. Aesthetically, Fellini’s films reach for what I will call “ugliness within beauty.” His films seem to ask: is there beauty to be found within ugliness? Or is there ugliness lurking within the beautiful? Fellini attempts to ask these questions through both his striking visuals and sympathetic characters.
    [Show full text]
  • Course Content. All Students Agreed That the Proposed Objectives Had
    DOC1'MFvT RPqlMF ED 021 546 JC 680 292 By- Cawthon, David L. OKLAHOMA CONSORTIUM ON RESEARCH DEVELOPMENT PILOTGRANT INTRODUCTION TO FILM. FINAL REPORT. Pub Date 68 Note-10p. EDRS Price MF-10.25 HC- W.48 Descriptors- AUDIOVISUAL AIDS, *COLLEGE CURRICULUM.COURSE EVALUATION. *EDUCATIONAL INNOVATION *EDUCATIONAL OBJECTIVES FILM PRODUCTION, *FILMS,INNOVATION INSTRUCTIONAL INNOVATION *JUNIOR COLLEGES, STUDENT OPINION, STUDENT REACTION Identifiers-*Oklahoma, Shawnee Although educators have beenturning to motion pictures and televisionas devices for supplementing instruction, therehas been a sparsity of instruction about the elements of filmor how to understand the medium. An innovativeprogram designed to meet this need was introduced at St. Gregory's College.The course dealt with the history and thegrammar of the medium, the film in relation to other art forms, and the film as an artistic estheticexperience. Methods of instruction included lectures, screening of films, discussions ingroups and as an entire class, and reading and summarizing film reviews. The class met three hoursa week for 16 weeks. Projects were the preparation of portfolios containing critic and student filmreviews or the preparation of a 5- to 10-minute filmgrammar and technique. At the conclusion of the course, the 42 students were asked to evaluate the objectives, filmselections, and course content.Allstudents agreed thatthe proposed objectives had been accomplished. With fewexceptions, the students agreed that the films screened adequately represented the academicarea under study. As a result of the evaluation it was decided that (1) the attemptto offer a comparative study of the filmin relation to other art forms should be eliminated, (2)the order in which the materialwas presented should be altered, and (3)more concentration should be given to the era of the 1930's.
    [Show full text]