How to Define and Make Exist an Experimental and Transgressive Cinema in South Asia ?
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Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Manipuri, Odia, Sindhi, Tamil, Telugu)
Choice Based Credit System (CBCS) UNIVERSITY OF DELHI DEPARTMENT OF MODERN INDIAN LANGUAGES AND LITERARY STUDIES (Assamese, Bengali, Gujarati, Manipuri, Odia, Sindhi, Tamil, Telugu) UNDERGRADUATE PROGRAMME (Courses effective from Academic Year 2015-16) SYLLABUS OF COURSES TO BE OFFERED Core Courses, Elective Courses & Ability Enhancement Courses Disclaimer: The CBCS syllabus is uploaded as given by the Faculty concerned to the Academic Council. The same has been approved as it is by the Academic Council on 13.7.2015 and Executive Council on 14.7.2015. Any query may kindly be addressed to the concerned Faculty. Undergraduate Programme Secretariat Preamble The University Grants Commission (UGC) has initiated several measures to bring equity, efficiency and excellence in the Higher Education System of country. The important measures taken to enhance academic standards and quality in higher education include innovation and improvements in curriculum, teaching-learning process, examination and evaluation systems, besides governance and other matters. The UGC has formulated various regulations and guidelines from time to time to improve the higher education system and maintain minimum standards and quality across the Higher Educational Institutions (HEIs) in India. The academic reforms recommended by the UGC in the recent past have led to overall improvement in the higher education system. However, due to lot of diversity in the system of higher education, there are multiple approaches followed by universities towards examination, evaluation and grading system. While the HEIs must have the flexibility and freedom in designing the examination and evaluation methods that best fits the curriculum, syllabi and teaching–learning methods, there is a need to devise a sensible system for awarding the grades based on the performance of students. -
Co-Optation of the American Dream: a History of the Failed Independent Experiment
Cinesthesia Volume 10 Issue 1 Dynamics of Power: Corruption, Co- Article 3 optation, and the Collective December 2019 Co-optation of the American Dream: A History of the Failed Independent Experiment Kyle Macciomei Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Macciomei, Kyle (2019) "Co-optation of the American Dream: A History of the Failed Independent Experiment," Cinesthesia: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholarworks.gvsu.edu/cine/vol10/iss1/3 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Macciomei: Co-optation of the American Dream Independent cinema has been an aspect of the American film industry since the inception of the art form itself. The aspects and perceptions of independent film have altered drastically over the years, but in general it can be used to describe American films produced and distributed outside of the Hollywood major studio system. But as American film history has revealed time and time again, independent studios always struggle to maintain their freedom from the Hollywood industrial complex. American independent cinema has been heavily integrated with major Hollywood studios who have attempted to tap into the niche markets present in filmgoers searching for theatrical experiences outside of the mainstream. From this, we can say that the American independent film industry has a long history of co-optation, acquisition, and the stifling of competition from the major film studios present in Hollywood, all of whom pose a threat to the autonomy that is sought after in these markets by filmmakers and film audiences. -
EMPIRICAL ARTICLE a STUDY on CONTEMPORARY KANNADA CINEMA and HUMAN RIGHTS Jayadatta S1, Krishna Murthy B
DOI: 10.14260/jadbm/2015/35 EMPIRICAL ARTICLE A STUDY ON CONTEMPORARY KANNADA CINEMA AND HUMAN RIGHTS Jayadatta S1, Krishna Murthy B. Y2 HOW TO CITE THIS ARTICLE: Jayadatta S, Krishna Murthy B. Y. “A Study on Contemporary Kannada Cinema and Human Rights”. Journal of Advances in Business Management; Vol. 1, Issue 3, July-September 2015; Page: 305-310, DOI: 10.14260/jadbm/2015/35 INTRODUCTION: India is the larger film producer in world. It produces nearly 800-1000 films per year. Out of which regional language films also add their contribution to national and international scenario. Bollywood is the name of Hindi cinema, Tollywood is of Telugu cinema, Molly wood is of Tamil cinema, Sandal wood is of Kannada cinema etc. Celebrated its 75th year in 2009 and moving towards century. Kannada film industry has its own history from 1934 Saathi sulochana to Puttakkana Highway-2012 industry has seen many up and downs. It has its audience across all over the globe. Industry has the great talented directors, actors, novel writers like late Dr. Rajakumar and Mr. V. K. Murthy have been honored by prestigious Dada Saheb Palake awarded, the director like late Mr. Puttanna Kanagal, late Lakshmi Narayana Rao, Mr. Girish Kasaravalli, Late Mr. G. V. Iyer, Actor/director Jnanapeeta award Dr. Girish Karnad, Late Shankarna, etc Have contributed their achievements and laid milestone in film industry. Master Kishan’s Care of Footpath and Film Shanthi received in the book of Gunnies Award. Observing the film trends from past 1934-2011 it can be conclude that the early film age was about theater oriented content, 1940-50 was on mythology and social oriented subjects, 50-60s were the devotional subjects, 60-70s were based on Kannada Unification stories, 70-80s were on aggressive and love stories, Women oriented majority based on Novels works.80-90s on mixed western culture with crime stories, 90-2000 expose of half nudity and double meaning in dialogue and songs, 2001- 2011 half nudity, crime, violence, vulgarity themes. -
Independent Experimental Film (Animation and Live-Action) Remains the Great Hardly-Addressed Problem of Film Preservation
RESTORING EXPERIMENTAL FILMS by William Moritz (From Anthology Film Archives' "Film Preservation Honors" program, 1997) Independent experimental film (animation and live-action) remains the great hardly-addressed problem of film preservation. While million-dollar budgets digitally remaster commercial features, and telethon campaigns raise additional funds from public donations to restore "classic" features, and most of the film museums and archives spend their meager budgets on salvaging nitrates of early live-action and cartoon films, thousands of experimental films languish in desperate condition. To be honest, experimental film is little known to the general public, so a telethon might not engender the nostalgia gifts that pour in to the American Movie Classics channel. But at their best, experimental films constitute Art of the highest order, and, like the paintings and sculptures and prints and frescos of previous centuries, merit preservation, since they will be treasured continuingly and increasingly by scholars, connoisseurs, and thankful popular audiences of future generations - for the Botticellis and Rembrandts and Vermeers and Turners and Monets and Van Goghs of our era will be found among the experimental filmmakers. Experimental films pose many special problems that account for some of this neglect. Independent production often means that the "owner" of legal rights to the film may be in question, so the time and money spent on a restoration may be lost when a putative owner surfaces to claim the restored product. Because the style of an experimental film may be eccentric in the extreme, it can be hard to determine its original state: is this print complete? Have colors changed? was there a sound accompaniment? what was the speed or configuration of projection? etc. -
Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion. -
Implications of Cinema's Politics for the Study of Urban Spaces
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ZENODO REVIEW OF URBAN AFFAIRS Three-Town Revolution: Implications of Cinema’s Politics for the Study of Urban Spaces S V Srinivas The point of convergence between cinema and iscussions on the commons tend to stress the use value of constituents of the urban commons is the crowd and common pool resources (CPRs) and their management, and balancing access and subtractability (depletion, ex- everything that the crowd connotes at any given point D haustion) of the resources in question, whether they be natural or of time and in any discourse. Popular Telugu cinema is human made.1 For example, Ostrom (1990) offers various models replete with examples of the crowd and what cinema for “governing the commons”. Hess (2008: 3) notes that recent does with it. This phenomenon of constituting and literature on the “new commons”, human-made, technologically driven resources, is marked by the perception that “the commons naming social formations and the misrecognitions it is a movement” whose concern is “what is shared or should be gives rise to are most instructive in a discussion of the shared” through cooperation and collective action. In some urban commons. This paper analyses Eenadu, a 1982 sense, the commons is increasingly sought to be the new site of Telugu film that is centrally concerned with crowds, to good politics. Does cinema have any relevance to these dis- cussions, particularly given the growing assault on common illustrate how cinema brings the mass gathered before resources in cities? the screen face-to-face with a version of itself on the Over the past three decades, writings on cinema in India and screen, framing a new mode of political participation elsewhere have made a persuasive case of its social and political pivoted on the popular appeal of larger-than-life significance. -
Journalism Is the Craft of Conveying News, Descriptive Material and Comment Via a Widening Spectrum of Media
Journalism is the craft of conveying news, descriptive material and comment via a widening spectrum of media. These include newspapers, magazines, radio and television, the internet and even, more recently, the cellphone. Journalists—be they writers, editors or photographers; broadcast presenters or producers—serve as the chief purveyors of information and opinion in contemporary mass society According to BBC journalist, Andrew Marr, "News is what the consensus of journalists determines it to be." From informal beginnings in the Europe of the 18th century, stimulated by the arrival of mechanized printing—in due course by mass production and in the 20th century by electronic communications technology— today's engines of journalistic enterprise include large corporations with global reach. The formal status of journalism has varied historically and, still varies vastly, from country to country. The modern state and hierarchical power structures in general have tended to see the unrestricted flow of information as a potential threat, and inimical to their own proper function. Hitler described the Press as a "machine for mass instruction," ideally, a "kind of school for adults." Journalism at its most vigorous, by contrast, tends to be propelled by the implications at least of the attitude epitomized by the Australian journalist John Pilger: "Secretive power loathes journalists who do their job, who push back screens, peer behind façades, lift rocks. Opprobrium from on high is their badge of honour." New journalism New Journalism was the name given to a style of 1960s and 1970s news writing and journalism which used literary techniques deemed unconventional at the time. The term was codified with its current meaning by Tom Wolfe in a 1973 collection of journalism articles. -
Discourses of Merit and Agrarian Morality in Telugu Popular Cinema
Communication, Culture & Critique ISSN 1753-9129 ORIGINAL ARTICLE Looking Back at the Land: Discourses of Agrarian Morality in Telugu Popular Cinema and Information Technology Labor Padma Chirumamilla School of Information, University of Michigan, Ann Arbor, MI 48109, USA This article takes Anand Pandian’s notion of “agrarian civility” as a lens through which we can begin to understand the discourses of morality, merit, and exclusivity that color both popular Telugu film and Telugu IT workers’ understanding of their technologically enabled work. Popular Telugu film binds visual qualities of the landscape and depictions of heroic technological proficiency to protagonists’ internal dispositions and moralities. I examine the portrayal of the landscape and of technology in two Telugu films: Dhee … kotti chudu,and Nuvvostanante Nenoddantana, in order to more clearly discern the nature of this agrarian civility and—more importantly for thinking about Telugu IT workers— to make explicit its attribution of morality to “merit” and to technological proficiency. Keywords: Information Technology, Morality, Telugu Cinema, Merit, Agrarian Civility. doi:10.1111/cccr.12144 InachasesceneinthepopularTelugufilmDhee … kotti chudu,anameless gangster—having just killed off his rival’s family—is fleeing to Bangalore from Hyderabad, driving along roads surrounded by rocky, barren outcrops, and shriveled patches of trees. The rival’s boss confronts him unexpectedly on the deserted road, quickly and seemingly instantaneously surrounding him with his own men and vehicles, before killing him in retaliation. The film then quickly moves on to its main character, a rather comedic scam artist, and its main spaces, in the city of Hyderabad.1 This particular stretch of barren landscape—scene to the violence that underlies a significant revenge plot woven into the film’s story—is not returned to. -
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place. -
Beyond the Black Box: the Lettrist Cinema of Disjunction
Beyond the Black Box: The Lettrist Cinema of Disjunction ANDREW V. UROSKIE I was not, in my youth, particularly affected by cine - ma’s “Europeans” . perhaps because I, early on, developed an aversion to Surrealism—finding it an altogether inadequate (highly symbolic) envision - ment of dreaming. What did rivet my attention (and must be particularly distinguished) was Jean- Isidore Isou’s Treatise : as a creative polemic it has no peer in the history of cinema. —Stan Brakhage 1 As Caroline Jones has demonstrated, midcentury aesthetics was dominated by a rhetoric of isolated and purified opticality. 2 But another aesthetics, one dramatically opposed to it, was in motion at the time. Operating at a subterranean level, it began, as early as 1951, to articulate a vision of intermedia assemblage. Rather than cohering into the synaesthetic unity of the Wagnerian Gesamtkunstwerk , works in this vein sought to juxtapose multiple registers of sensory experience—the spatial and the temporal, the textual and the imagistic—into pieces that were intentionally disjunc - tive and lacking in unity. Within them, we can already observe questions that would come to haunt the topos of avant-garde film and performance in the coming decades: questions regarding the nature and specificity of cinema, its place within artistic modernism and mass culture, the institutions through which it is presented, and the possible modes of its spectatorial engagement. Crucially associated with 1. “Inspirations,” in The Essential Brakhage , ed. Bruce McPherson (New York: McPherson & Co., 2001), pp. 208 –9. Mentioned briefly across his various writings, Isou’s Treatise was the subject of a 1993 letter from Brakhage to Frédérique Devaux on the occasion of her research for Traité de bave et d’eternite de Isidore Isou (Paris: Editions Yellow Now, 1994). -
Letterism 1947-2014 Vol. 1
The Future is Unwritten: Letterism 1947-2014 Vol. 1 Catalog 17 Division Leap 6635 N. Baltimore Ave. Ste. 111 Portland, OR 97203 www.divisionleap.com [email protected] 503 206 7291 “Radically anticipating Herbert Marcuse, Paul Goodman, and their Letterism is a movement whose influence is as widespread as it is unacknowledged. From punk to concrete poetry to experimental film, from the development of youth culture to the student uprisings of 1968 and epigones in the 1960s new left, Isou the formation of the Situationist International, most postwar avant-garde movements owe a debt to it’s rev- produced an analysis of youth as olutionary theories, yet it remains largely overlooked in studies of the period (some notable exceptions are listed in the bibliography that follows the text). an inevitably revolutionary social sector - revolutionary on its own This catalog contains over one hundred items devoted to Letterism and Inismo. To the best of our knowl- edge it is the first devoted to either of these movements in the US. It contains a number of publications terms, which meant that the terms which have little or no institutional representation on these shores, and represents a valuable opportunity for of revolution had to be seen in a future research. new way.” A number of the items in this catalog were collected by the anarchist scholar Pietro Ferrua, who was closely associated with members of both Letterism and Inismo and who has written a great deal about both move- ments. Ferrua organized the first international conference on Letterism here in Portland in 1979 [see #62].