DOCSLIB.ORG

African American Studies 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
African American Studies 1 African American Studies 1 Assistant Professor of Theater; Assistant Professor, Feminist, Gender, and AFRICAN AMERICAN Sexuality Studies; Assistant Professor, African American Studies Ren Ellis Neyra STUDIES BA, Freed Hardeman College; PHD, SUNY at Stony Brook Associate Professor of English; Associate Professor, African American Studies The African American Studies major and minor offer a substantial interdisciplinary, comparative, and cross-cultural approach to the study of the Anthony Ryan Hatch experiences of people of African descent in the black Atlantic world, especially AB, Dartmouth College; MA, University of Maryland College Park; PHD, University in the United States and the Caribbean. The major and minor, which feature of Maryland College Park courses in the humanities, social sciences, and the arts, enables students Associate Professor of Science in Society; Chair, Science in Society; Associate to apply, critique, and reimagine the methodologies and insights of many Professor, African American Studies; Associate Professor, College of the disciplines to their understanding of the cultural, historical, political, and social Environment; Associate Professor, Sociology; Associate Professor, Environmental development of people of African descent. The curriculum enables students Studies; Coordinator, Sustainability and Environmental Justice to better understand the social structures and cultural traditions created by Africans in the diaspora and to better understand Western conceptualizations of Jay Clinton Hoggard race, the relationship between issues of race and identity, and the histories and BA, Wesleyan University; MA, Wesleyan University influences of people of African descent. Professor of Music; Chair, Music; Professor, African American Studies Students who graduate with a major in African American Studies go on to Elizabeth McAlister pursue advanced degrees and careers in fields such as law, medicine, literature, BA, Vassar College; MA, Yale University; MA, Yale University; MPHIL, Yale education, business, public policy, African American studies, and the sciences. University; PHD, Yale University Professor of Religion; Professor, African American Studies; Professor, American The intellectual work of the African American Studies Department is enriched Studies; Professor, Feminist, Gender, and Sexuality Studies further by the programming of the Center for African American Studies. The center’s offerings deepen classroom and campus wide conversations about Rashida Z. Shaw McMahon contemporary and historic matters relating to African American Studies and to BA, Wesleyan University; MA, Northwestern University; PHD, Northwestern the African diaspora. University Associate Professor of English; Associate Professor, African American Studies; Associate Professor, Theater John Murillo FACULTY BA, Howard University; MFA, New York University Garry Bertholf Assistant Professor of English; Director, Creative Writing; Assistant Professor, BA, Colby College; MA, University of Pennsylvania; PHD, University of African American Studies Pennsylvania Joya Powell Assistant Professor of African American Studies BA, Columbia University; MA, New York University Kaisha Esty Visiting Assistant Professor, African American Studies; Visiting Assistant Professor BA, University of Nottingham; MA, University of Nottingham; PHD, Rutgers of Dance University Nicole Lynn Stanton Assistant Professor of African American Studies; Assistant Professor, History; BA, Antioch College; MFA, Ohio State University Assistant Professor, Feminist, Gender, and Sexuality Studies Provost and Senior Vice President for Academic Affairs; Professor of Dance; Khalil Anthony Johnson Professor, African American Studies; Professor, Environmental Studies BA, University of Georgia Athens; MPHIL, Yale University; PHD, Yale University Assistant Professor of African American Studies VISITING FACULTY Ashraf H.A. Rushdy BA, University of Alberta; MA, University of Alberta; PHD, Cambridge University Kevin Holt Benjamin Waite Professor of the English Language; Professor of English; BA, Oberlin College; BM, Oberlin College; MA, Columbia University; PHD, Professor of African American Studies; Chair, African American Studies; Academic Columbia University Secretary; Professor, Feminist, Gender, and Sexuality Studies Mellon Postdoctoral Fellow in African American Studies Jesse Nasta BA, Wesleyan University; MA, Northwestern University; PHD, Northwestern AFFILIATED FACULTY University Marina Bilbija Visiting Assistant Professor of African American Studies BA, University of Sarajevo; MA, University of Pennsylvania; PHD, University of Pennsylvania Assistant Professor of English; Assistant Professor, African American Studies EMERITI Katherine Brewer Ball Gayle Pemberton BA, Occidental College; MA, New York University; PHD, New York University 2 African American Studies BA, University of Michigan; MA, Harvard University; MAA, Wesleyan University; have steered the history of struggles for freedom, citizenship, equal treatment, PHD, Harvard University social and economic justice, and protection from the state. Figures such as Maria Professor of English, Emerita; Professor of African American Studies, Emerita Stewart, Frederick Douglass, W. E. B. Du Bois, Marcus Garvey, Paul Robeson, and Angela Davis constitute part of a long tradition of black radicals. Even as the meaning of "radical" has shifted historically, black radicals are joined by their visions of dismantling existing systems and institutions for a freer and DEPARTMENTAL ADVISING EXPERTS more equitable society. Spanning the periods of black radical abolitionism, black nationalism, Black Power, and the Black Lives Matter movement, this course Professor Ashraf Rushdy, Chair explores key radical thinkers, activists, and texts in historical perspective. Offering: Host • Undergraduate African American Studies Major (https:// Grading: OPT catalog.wesleyan.edu/departments/afam/ugrd-afam/) Credits: 1.00 AFAM101 Introduction to Africana Studies: Black Radical Thought and Praxis Gen Ed Area: SBS-AFAM This course will introduce students to the intellectual history and political Prereq: None economy of Africa and the African diaspora. It will take up important historical AFAM152F Staging America: Modern American Drama (FYS) issues and questions that continue to animate, even haunt the modern world: Can modern American drama--as cultural analysis--teach us to reread how race, race relations, and anti-black racism; the universality of whiteness and America ticks? Together we will explore this question as we read and discuss white supremacy; the fungibility of the black body; the vulnerability and precarity some of the most provocative classic and uncanonized plays written between of black life; and the complex and "unthinkable" histories and afterlives of the 1910s and the present. Plays by Susan Glaspell, Eugene O'Neill, Mike Gold, chattel slavery, racial capitalism, settler colonialism, and the Middle Passage. workers theater troupes, Clifford Odets, Tennessee Williams, Arthur Miller, Offering: Host Amiri Baraka, Arthur Kopit, Ntozake Shange, Luis Valdez, David Mamet, Tony Grading: A-F Kushner, Ayad Akhtar, and others will help us think about what's at stake in Credits: 1.00 staging America and equip us as cultural analysts, critical thinkers, close readers Gen Ed Area: SBS-AFAM of literature, and imaginative historians of culture and theater. This seminar will Prereq: None introduce first-year students to the kind of critical thinking developed in majors AFAM111 Introduction to Critical Philosophy of Race such as English; American Studies; African American Studies; Feminist, Gender, This first-year seminar (FYS) course will examine contemporary figures in the and Sexuality Studies; College of Letters; Theater Studies; and the Social and emerging field of critical philosophy of race. We will attempt to examine what Cultural Theory Certificate. contributions (if any) the critical philosophy of race has provided not only to Offering: Crosslisting philosophy as a discipline but also to more traditional and established modes Grading: OPT of thinking race and racism. We will do so by exploring issues such as the Credits: 1.00 differences between critical philosophy of race and critical race theory, as well as Gen Ed Area: HA-ENGL the historical role of race and racism in philosophical thinking, and by attending Identical With: ENGL175F, AMST125F, COL125F, FGSS175F, THEA172F to the major debates currently held in this emerging tradition. Prereq: None Offering: Crosslisting AFAM171F The Prison State: Race, Law, and Mass Incarceration in U.S. History Grading: A-F (FYS) Credits: 1.00 This first-year seminar course explores the history and effects of the United Gen Ed Area: SBS-PHIL States' mass incarceration crisis. The U.S. incarcerates more people than Identical With: PHIL111 any other country in the world. And people of color make up a highly Prereq: None disproportionate number of the over 2 million individuals incarcerated in the AFAM115F Freedom School (FYS) U.S. today. Beginning with slavery and continuing through the rise of prisons, From the point of view of the U.S. nation-state, education has always been debt peonage, Jim Crow, and the Black Lives Matter movement, the course will a hegemonic means to control knowledge, to calibrate unequal forms of explore how efforts to police, detain, and control black bodies have been at the citizenship, and to promote the social reproduction of power. Yet as W.E.B. Du center of U.S. law and legal practice
Load more

Recommended publications
  • Notable Alphas Fraternity Mission Statement
    ALPHA PHI ALPHA NOTABLE ALPHAS FRATERNITY MISSION STATEMENT ALPHA PHI ALPHA FRATERNITY DEVELOPS LEADERS, PROMOTES BROTHERHOOD AND ACADEMIC EXCELLENCE, WHILE PROVIDING SERVICE AND ADVOCACY FOR OUR COMMUNITIES. FRATERNITY VISION STATEMENT The objectives of this Fraternity shall be: to stimulate the ambition of its members; to prepare them for the greatest usefulness in the causes of humanity, freedom, and dignity of the individual; to encourage the highest and noblest form of manhood; and to aid down-trodden humanity in its efforts to achieve higher social, economic and intellectual status. The first two objectives- (1) to stimulate the ambition of its members and (2) to prepare them for the greatest usefulness in the cause of humanity, freedom, and dignity of the individual-serve as the basis for the establishment of Alpha University. Table Of Contents Table of Contents THE JEWELS . .5 ACADEMIA/EDUCATORS . .6 PROFESSORS & RESEARCHERS. .8 RHODES SCHOLARS . .9 ENTERTAINMENT . 11 MUSIC . 11 FILM, TELEVISION, & THEATER . 12 GOVERNMENT/LAW/PUBLIC POLICY . 13 VICE PRESIDENTS/SUPREME COURT . 13 CABINET & CABINET LEVEL RANKS . 13 MEMBERS OF CONGRESS . 14 GOVERNORS & LT. GOVERNORS . 16 AMBASSADORS . 16 MAYORS . 17 JUDGES/LAWYERS . 19 U.S. POLITICAL & LEGAL FIGURES . 20 OFFICIALS OUTSIDE THE U.S. 21 JOURNALISM/MEDIA . 21 LITERATURE . .22 MILITARY SERVICE . 23 RELIGION . .23 SCIENCE . .24 SERVICE/SOCIAL REFORM . 25 SPORTS . .27 OLYMPICS . .27 BASKETBALL . .28 AMERICAN FOOTBALL . 29 OTHER ATHLETICS . 32 OTHER ALPHAS . .32 NOTABLE ALPHAS 3 4 ALPHA PHI ALPHA ADVISOR HANDBOOK THE FOUNDERS THE SEVEN JEWELS NAME CHAPTER NOTABILITY THE JEWELS Co-founder of Alpha Phi Alpha Fraternity; 6th Henry A. Callis Alpha General President of Alpha Phi Alpha Co-founder of Alpha Phi Alpha Fraternity; Charles H.
    [Show full text]
  • Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms
    FOR IMMEDIATE RELEASE Media Contact: March 19, 2014 Casey De La Rosa 310.360.1981 [email protected] Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms First ‘Sundance Institute Episodic Story Lab’ to Be Held in Fall 2014 at the Sundance Resort, with Norman and Lyn Lear as Founding Supporters Los Angeles, CA — Sundance Institute today announced a significant expansion of its renowned labs for independent artists to include dedicated support for writers and creators of series for television and online platforms. The first Sundance Institute Episodic Story Lab will be held in Fall 2014 at the Sundance Resort in Sundance, Utah. Building on the Institute’s 30-year legacy of developing new work from storytellers with distinctive and risk-taking stories, this new initiative addresses the need for more opportunities for learning and mentorship of singular and diverse voices in scripted TV and online series. In collaboration with accomplished mentors, writers at the six-day, immersive Episodic Story Lab will work on developing stories and characters that play out over multiple episodes and will also have the opportunity to better understand the landscape for production and distribution of serialized stories. Both drama and comedy writing will be supported at the Lab, which has been organized under the leadership of Michelle Satter, Founding Director of the Institute’s Feature Film Program. The Lab is made possible by generous support and guidance from television producer Norman Lear and his wife, Institute Trustee Lyn Lear. The Institute cites the growth of great writing and bold content in recent years as inspiration for the Lab.
    [Show full text]
  • Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • Unbecoming Adults: Adolescence and the Technologies of Difference in Post
    Unbecoming Adults: Adolescence and the Technologies of Difference in Post-1960s US Ethnic Literature and Culture DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James K. Harris, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Dr. Martin Joseph Ponce, Advisor Dr. Lynn Itagaki Dr. Jian Chen Copyright by James K. Harris 2017 Abstract Adolescence has always been a cultural construction. The designation of a separate space apart from the presumed innocence of childhood and the myths of autonomy and responsibility that come to define adulthood is a surprisingly modern phenomenon. As such, adolescence bears the traces of the ideologies of race, gender, sexuality, and nation that attend so much of the period that calls itself “modernity.” My dissertation asks how writers and artists of color imagine themselves into the archive of coming of age narratives in post-1960s US literature and culture. In thinking about the importance of identity in the period following the advent of nominal civil rights, I offer the “long(er) civil rights movement” as a way of resisting the move to periodize the struggles through which difference has historically accrued meaning in the US nation- state. Each chapter centers around a “technology,” the academy, the body, the entertainment industry, and the internet, which is essential to the formation of adolescent identity in the post-war era, alongside a key term in the lexicon of American culture that accrues added meanings when filtered through the experience of difference.
    [Show full text]
  • Ruth Prawer Jhabvala's Adapted Screenplays
    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
    [Show full text]
  • Emerging Narrative
    Emerging Narrative 25 Feature Scripts in Development Arrow Written and directed by Emily Carmichael, produced by Adam Spielberg and Josh Hetzler, cinematography by Ben Richardson. In a madcap alternate-reality Brooklyn, three science-fiction heroes face their greatest challenge yet: not saving the world anymore. (Sci- fi/Comedy) The Assumption Written and directed by Tom Quinn, produced by Steve Beal and Ellen Knechel. A young priest attempting to save his elementary school from closure becomes a local celebrity after a near-death experience. (Drama) Baby Lu Written and directed by Emily Ray Reese, produced by Tati Barrantes and Caroline Oliveira. A forbidden crush forces 13-year-old Lucinda and her mountain man father to confront her developing sexuality in a small town in Northern New Mexico. (Coming of Age) The Blandishments Written and directed by Kyle Smith. The Blandishments, a five-piece band from Indiana, weather the challenges that come with writing a hit alternative-rock song in 1993. (Comedy) Brooklyn Flee Written and directed by Alexandra Roxo, written and produced by Devon Kirkpatrick. When two girls meet online and agree to drive across country together, their impromptu adventure brings them much closer than they’d anticipated. (Comedy) Chicken Day Written by Melissa Brandt. A troublesome teenage girl must win a small town’s annual chicken competition in order to save the members of her dysfunctional family. (Drama) Cutlet Written and directed by Clay Liford, produced by Angie Meyer and Brock Williams. A road trip to an isolated farm becomes a nightmare for two siblings when they are forced to battle a mutated herd of carnivorous cattle.
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • Richard Wright's and Chester Himes's Treatment of the Concept of Emerging Black Masculinity in the 20Th Century
    City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2017 Richard Wright's and Chester Himes's Treatment of the Concept of Emerging Black Masculinity in the 20th Century Peter M. Brown CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/696 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Richard Wright's and Chester Himes's Treatment of the Concept of Emerging Black Masculinity in the 20th Century By Peter M. Brown A Thesis Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York May 2017 Table of Contents Chapter 1: Introduction 1 Chapter 2: Native Son 9 Chapter 3: Finding Bigger Thomas 19 Chapter 4: Black Literature Leading to the Rage and Honesty of Chester Himes 30 Chapter 5: If He Hollers 52 Chapter 1: Introduction In order to do justice to their subject matter, in order to depict Negro life in all of its manifold and intricate relationships, a deep, informed and complex consciousness is necessary, a consciousness which draws for its strength upon the fluid lore of a great people, and moulds this lore with concepts that move and direct the forces of history today. Every short story, novel, poem, and play should carry within its lines, implied or explicit, a sense of the oppression of the Negro people, the danger of war, of fascism, of the threatened destruction of culture and civilization; and, too, the faith and necessity to build a new world.
    [Show full text]
  • Pariah (2011): Coming out in the Middle
    Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies 2015 Pariah (2011): Coming Out In The Middle Patricia White Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Patricia White. (2015). "Pariah (2011): Coming Out In The Middle". US Independent Film After 1989: Possible Films. 133-143. https://works.swarthmore.edu/fac-film-media/50 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. chapter 13 Pariah (2011): Coming Out in the Middle Patricia White arly headlines from the 2011 Sundance Film Festival trumpeted Focus EFeatures’ acquisition of Dee Rees’ Pariah after the film screened on the festival’s opening night. The deal offered by the specialty division of Universal was reported to be in the ‘seven figure range’ (Fleming 2011). The film’s executive producer Spike Lee, the launch at the hit- making festival and the studio- affiliated distributor put this case study firmly within the realm of commercial- independent cinema that has evolved in the US since the 1980s (see Perkins 2012). Yet Pariah is as oriented toward community as it is toward commerce, and festival buzz is only one dimension of its publicity. Made by first- time director Dee Rees for under US$500,000, Pariah tells the story of a sensitive African American lesbian’s coming of age and to terms with parental and peer expectations in current- day Brooklyn.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Dga Independent Filmmakers
    Ti West directing In a Valley of Violence INDEPENDENTDGA FILMMAKERS Nicole Holofcener directing Enough Said Dee Rees directing Mudbound It’s YOUR film. The Directors Guild of America is a powerful force that can help you realize your Rodrigo Garcia directing Last Days in the Desert vision regardless of budget. Find out what the DGA is all about. Ryan Coogler directing Creed GREETINGS FROM DGA PRESIDENT THOMAS SCHLAMME Dear Filmmaker: What is independent filmmaking today? Traditionally, independent We support our members working in independent film by films are those that are produced outside of the studio system. More protecting their rights, as well as providing them with the realistically, in the current landscape, with streaming services, day and flexibility to do projects they are passionate about. The Guild’s date releases and ever-changing distribution models, independent has Independent Directors Committees are a concrete embodiment taken on a feeling of otherness – something not mainstream. of this commitment. These Committees – one based in New York and the other based in Los Angeles – host regular gatherings for And here you are. You’ve made a movie that caught attention and it’s independent and low-budget directors. The Committees have playing at a festival or maybe you’ve been lucky enough to secure a also established the very successful Director’s Finder Screening distribution deal. As a director, you may think your responsibilities end Series, which regularly showcases unreleased independent films once the film is completed. Ideally, you’ve handled every creative choice directed by DGA members for an audience of independent during pre-production, through production and into post.
    [Show full text]
  • 90Th Annual Academy Awards® Oscar® Nominations Fact Sheet
    90TH ANNUAL ACADEMY AWARDS® OSCAR® NOMINATIONS FACT SHEET Best Motion Picture of the Year: Call Me by Your Name (Sony Pictures Classics) - Peter Spears, Luca Guadagnino, Emilie Georges and Marco Morabito, producers - This is the first nomination for all four. Darkest Hour (Focus Features) - Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski, producers - This is the fifth nomination for Tim Bevan. His previous Best Picture nominations were for Elizabeth (1998), Atonement (2007), Les Misérables (2012) and The Theory of Everything (2014). This is the sixth nomination for Eric Fellner. His previous Best Picture nominations were for Elizabeth (1998), Atonement (2007), Frost/Nixon (2008), Les Misérables (2012) and The Theory of Everything (2014). This is the second Best Picture nomination for both Lisa Bruce and Anthony McCarten, who were previously nominated for The Theory of Everything (2014). This is the first nomination for Douglas Urbanski. Dunkirk (Warner Bros.) - Emma Thomas and Christopher Nolan, producers - This is the second Best Picture nomination for both. They were previously nominated for Inception (2010). Get Out (Universal) - Sean McKittrick, Jason Blum, Edward H. Hamm Jr. and Jordan Peele, producers - This is the second Best Picture nomination for Jason Blum, who was previously nominated for Whiplash (2014). This is the first Best Picture nomination for Sean McKittrick, Edward H. Hamm Jr. and Jordan Peele. Lady Bird (A24) - Scott Rudin, Eli Bush and Evelyn O'Neill, producers - This is the ninth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013), The Grand Budapest Hotel (2014) and Fences (2016).
    [Show full text]