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Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. -
UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Viewing Film from a Communication Perspective
Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool. -
The Lighter Side
Theyll Do It Every Time By Jimmy Hatlo Sparkman says Another school religious ruling bans smoking '(©UNG~N| the side confuses issue Conn. (UPD—Smok- HOODLUMS/; lighter GROTON, DICK ing has been banned at all town By WEST tieners. We figure that nature WASHINGTON (UPI) Sen. United Press International schools the Board of Educa- isn’t any too well balanced any- John Sparkman, D-Ala., says tne by WASHINGTON (UPI) _ Each way. tion. TAGM : t w o U. S. Supreme Court de- summer since I joined in the I put down the sprayer and Students at the high school had YOU'RE colonization of darkest I cisions relating to religion con- suburbia was balancing myself in the ham- rather than where been permitted to smoke in cer- it a I have grown a small | fused, clarified, J “victory mock when my wife came out and in back to draw tho line on governmental tain areas on the school grounds garden” my yard. asked I j why had quit gardening. of I recognition God. if had their parents’ perm is- Little things that I have heard “I’m weighing the benefits that | they read in recent “The Supreme Court has failed sion. and years lead will accrue to our radish from a j to draw a distinction between laws me to believe that the Victory spraying with an anti-tomtit solu- The board's action was taken which establish a religion and Garden campaign has been losing tion against the possible disturb- j ! Monday night after Dr. William laws which merely affect religion’’ momentum since the end of the ing effect that it might have on | | Farris, superintendent of schools, he said war. -
“I'm Rare As Affordable Health Care...Or Going to Wealth
Media RepresentationsAugust of Poverty 2020 “I’M RARE AS AFFORDABLE HEALTH CARE...OR GOING TO WEALTH FROM WELFARE” * Poverty & Wealth Narratives in Popular Culture INTERIM SUMMARY OF RESEARCH PREPARED FOR: Bill & Melinda Gates Foundation PREPARED BY: USC Annenberg Norman Lear Center Erica L. Rosenthal, Veronica Jauriqui, Shawn Van Valkenburgh, Dana Weinstein, and Emily Peterson *The title of this report comes from lyrics in the song, “Big Bank,” www.learcenter.org by YG, featuring 2 Chainz, Big Sean and Nicki Minaj. Interim Summary of Research TABLE OF CONTENTS 3 INTRODUCTION 6 MERITOCRACY: THE DOMINANT NARRATIVE 10 DEPICTING THE LIMITATIONS OF MERITOCRACY 13 HIGHLIGHTING SYSTEMIC BARRIERS AS THE REASON MERITOCRACY FAILS 16 DISCUSSING THE ROLE OF RACISM 19 SHOWING ALTRUISTIC SOLUTIONS AND RESILIENCE 22 MODELING SYSTEMIC SOLUTIONS 24 TWO CRISES 25 RECOMMENDATIONS FOR STORYTELLERS AND ADVOCATES 28 REFERENCES 32 APPENDIX: METHODOLOGY Interim Summary Report page 2 Interim Summary of Research INTRODUCTION The USC Annenberg Norman Lear Center — with funding from the Bill & Melinda Gates Foundation (the foundation) — is conducting a cultural audit of poverty narratives. A cultural audit is a method of gaining a deeper understanding of priority audiences by understanding the pop culture narratives they consume. The project has two overarching goals. The first is to provide evidence-based insights to the foundation’s Voices for Economic Opportunity grantee cohort, a group of organizations who are designing new narratives of poverty to correct misconceptions and address systemic barriers to mobility. The second is to establish a baseline of existing narratives for longitudinal tracking by Harmony Labs, another foundation grantee. The formative research summarized in this report examines how poverty and wealth are constructed in the pop culture narratives in which media consumers are immersed — specifically scripted TV and film, popular music, and top-selling video games.1 In later stages, the Lear Center will expand this analysis to TV news and unscripted content. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Unit 2 Setting
History of Television Broadcasting Unit 2 Unit-2: HISTORY OF TELEVISION BROAD- CASTING UNIT STRUCTURE 2.1 Learning Objectives 2.2 Introduction 2.3 Origin and Development of Television 2.4 Transmission of Television System 2.5 Broadcasting 2.6 Colour Television 2.7 Cable Television 2.8 Television News 2.9 Digital Television 2.10 High Definition Television 2.11 Let Us Sum Up 2.12 Further Reading 2.13 Answers to Check Your Progress 2.14 Model Questions 2.1 LEARNING OBJECTIVES After going through this unit, you will be able to - describe the evolution of television discuss the discoveries made by the pioneer of television inventors analyse the television technology development list the recent trend of Digital Television 2.2 INTRODUCTION In the previous unit we were introduced to the television medium, its features and its impact and reach. The unit also provides the distinctions between television and the audio medium. In this unit we shall discuss Electronic Media-Television 23 Unit 2 History of Television Broadcasting about the overview ofthe history of television, inventions, early technological development and the new trends in the television industry around the globe. 2.3 ORIGIN AND DEVELOPMENT OF TELEVISION Television has become one of the important parts of our everyday life. It is a general known fact that television is not only providing the news and information but it is also entertaining us with its variety of programme series and shows. A majority of home-makers cannot think about spending theirafternoon leisure time withoutthe dose of daily soap opera; a concerned citizen cannot think of skipping the prime time in news channel or a sports lover in India cannot miss a live cricket match. -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
Edward R. Murrow
Edward R. Murrow Edward Roscoe Murrow (April 25, 1908 – April 27, 1965), born Egbert Roscoe Murrow,[1] was an American broadcast journalist and war correspondent. He first gained Edward R. Murrow prominence during World War II with a series of live radio broadcasts from Europe for the news division of CBS. During the war he recruited and worked closely with a team of war correspondents who came to be known as the Murrow Boys. A pioneer of radio and television news broadcasting, Murrow produced a series of reports on his television program See It Now which helped lead to the censure of Senator Joseph McCarthy. Fellow journalists Eric Sevareid, Ed Bliss, Bill Downs, Dan Rather, and Alexander Kendrick consider Murrow one of journalism's greatest figures, noting his honesty and integrity in delivering the news. Contents Early life Career at CBS Radio Murrow in 1961 World War II Born Egbert Postwar broadcasting career Radio Roscoe Television and films Murrow Criticism of McCarthyism April 25, Later television career Fall from favor 1908 Summary of television work Guilford United States Information Agency (USIA) Director County, North Death Carolina, Honors U.S. Legacy Works Died April 27, Filmography 1965 Books (aged 57) References Pawling, New External links and references Biographies and articles York, U.S. Programs Resting Glen Arden place Farm Early life 41°34′15.7″N 73°36′33.6″W Murrow was born Egbert Roscoe Murrow at Polecat Creek, near Greensboro,[2] in Guilford County, North Carolina, the son of Roscoe Conklin Murrow and Ethel F. (née Lamb) Alma mater Washington [3] Murrow. -
The Edward R. Murrow of Docudramas and Documentary
Media History Monographs 12:1 (2010) ISSN 1940-8862 The Edward R. Murrow of Docudramas and Documentary By Lawrence N. Strout Mississippi State University Three major TV and film productions about Edward R. Murrow‟s life are the subject of this research: Murrow, HBO, 1986; Edward R. Murrow: This Reporter, PBS, 1990; and Good Night, and Good Luck, Warner Brothers, 2005. Murrow has frequently been referred to as the “father” of broadcast journalism. So, studying the “documentation” of his life in an attempt to ascertain its historical role in supporting, challenging, and/or adding to the collective memory and mythology surrounding him is important. Research on the docudramas and documentary suggests the depiction that provided the least amount of context regarding Murrow‟s life (Good Night) may be the most available for viewing (DVD). Therefore, Good Night might ultimately contribute to this generation (and the next) having a more narrow and skewed memory of Murrow. And, Good Night even seems to add (if that is possible) to Murrow‟s already “larger than life” mythological image. ©2010 Lawrence N. Strout Media History Monographs 12:1 Strout: Edward R. Murrow The Edward R. Murrow of Docudramas and Documentary Edward R. Murrow officially resigned from Life and Legacy of Edward R. Murrow” at CBS in January of 1961 and he died of cancer AEJMC‟s annual convention in August 2008, April 27, 1965.1 Unquestionably, Murrow journalists and academicians devoted a great contributed greatly to broadcast journalism‟s deal of time revisiting Edward R. Murrow‟s development; achieved unprecedented fame in contributions to broadcast journalism‟s the United States during his career at CBS;2 history. -
Parallax Historiography: the Flâneuse As Cyberfeminist Catherine Russell, Concordia University, Canada
Parallax Historiography: The Flâneuse as Cyberfeminist Catherine Russell, Concordia University, Canada "Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves. This is a dream not of a common language, but of a powerful infidel heteroglossia." Donna Haraway Haraway's cyborg manifesto may seem an odd choice of theoretical paradigms for developing insight into silent cinema; and yet I would like to suggest that new media technologies have created new theoretical "passages" back to the first decades of film history. The flâneuse, an imaginary construction of female subjectivity who is our guide in this journey, is herself a cyborg. She figures the relationship between women and technology as a mobile, fluid and productive means of, in Haraway's words, "building and destroying machines, identities, categories, relationships, spaces, stories" (1997: 482). Recent developments in film historiography by feminist theorists have shifted the emphasis from textual analysis of the woman onscreen to the invisible history of the spectator-subject. As Patrice Petro puts it, "In contrast to formalist film historians, who seek to recover what is increasingly becoming a lost object, feminists have been primarily concerned to unearth the history of the (found) female subject" (1990: 11). This is a discovery that calls for discourse drawn from the utopian genres of techno-feminism. That this "discovery" of female subjectivity has been motivated by the parallels between early cinema and new imaging technologies is, I believe, a fundamental aspect of the new feminist film historiography. The term "parallax" is useful to describe this historiography, because it is a term that invokes a shift in perspective as well as a sense of parallelism. -
Television Shows
Libraries TELEVISION SHOWS The Media and Reserve Library, located on the lower level west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 1950s TV's Greatest Shows DVD-6687 Age and Attitudes VHS-4872 24 Season 1 (Discs 1-3) DVD-2780 Discs Age of AIDS DVD-1721 24 Season 1 (Discs 1-3) c.2 DVD-2780 Discs Age of Kings, Volume 1 (Discs 1-3) DVD-6678 Discs 24 Season 1 (Discs 4-6) DVD-2780 Discs Age of Kings, Volume 2 (Discs 4-5) DVD-6679 Discs 24 Season 1 (Discs 4-6) c.2 DVD-2780 Discs Alfred Hitchcock Presents Season 1 DVD-7782 24 Season 2 (Discs 1-4) DVD-2282 Discs Alias Season 1 (Discs 1-3) DVD-6165 Discs 24 Season 2 (Discs 5-7) DVD-2282 Discs Alias Season 1 (Discs 4-6) DVD-6165 Discs 30 Days Season 1 DVD-4981 Alias Season 2 (Discs 1-3) DVD-6171 Discs 30 Days Season 2 DVD-4982 Alias Season 2 (Discs 4-6) DVD-6171 Discs 30 Days Season 3 DVD-3708 Alias Season 3 (Discs 1-4) DVD-7355 Discs 30 Rock Season 1 DVD-7976 Alias Season 3 (Discs 5-6) DVD-7355 Discs 90210 Season 1 (Discs 1-3) c.1 DVD-5583 Discs Alias Season 4 (Discs 1-3) DVD-6177 Discs 90210 Season 1 (Discs 1-3) c.2 DVD-5583 Discs Alias Season 4 (Discs 4-6) DVD-6177 Discs 90210 Season 1 (Discs 4-5) c.1 DVD-5583 Discs Alias Season 5 DVD-6183 90210 Season 1 (Discs 4-6) c.2 DVD-5583 Discs All American Girl DVD-3363 Abnormal and Clinical Psychology VHS-3068 All in the Family Season One DVD-2382 Abolitionists DVD-7362 Alternative Fix DVD-0793 Abraham and Mary Lincoln: A House