Film Appreciation Communication 1375-60 NEW CORE - Fall 2014
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Edith Wharton: Vision and Perception in Her Short Stories Jill Sneider Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 5-24-2012 Edith Wharton: Vision and Perception in Her Short Stories Jill Sneider Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Sneider, Jill, "Edith Wharton: Vision and Perception in Her Short Stories" (2012). All Theses and Dissertations (ETDs). 728. https://openscholarship.wustl.edu/etd/728 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of English Dissertation Examination Committee: Wayne Fields, Chair Naomi Lebowitz Robert Milder George Pepe Richard Ruland Lynne Tatlock Edith Wharton: Vision and Perception in Her Short Stories By Jill Frank Sneider A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2012 St. Louis, Missouri Copyright by Jill Frank Sneider 2012 Acknowledgments I would like to thank Washington University and the Department of English and American Literature for their flexibility during my graduate education. Their approval of my part-time program made it possible for me to earn a master’s degree and a doctorate. I appreciate the time, advice, and encouragement given to me by Wayne Fields, the Director of my dissertation. He helped me discover new facets to explore every time we met and challenged me to analyze and write far beyond my own expectations. -
1 CRIES and WHISPERS Jean Morris Is a Spanish / French
CRIES AND WHISPERS Jean Morris is a Spanish / French / English translator living in London. She has been collaborating with me since 2015 translating into English the subtitles for most of the poems I choose for my videos. She is an extraordinary and generous professional, and also an amazing poet, sensitive and technically accurate. Cries and Whispers is not the first poem of hers that I have worked with: Domingo después del vendaval (Sunday Morning After Gales), Shelter (an unfinished project) and, of course, Metamorphosis, a happy collaboration made under the direction of filmmaker Marie Craven. As usual, Jean gave me total freedom to work with her poem as I liked. I asked her to explain a little more about the period the poem is set in. She told me that she wrote the poem from her experience spending some time as a student of Spanish in Granada in 1975. What happens in the poem is Jean’s real life; she is able to write good poetry from her own life, so moving and profound. The way she mixes her father's death with the Ingmar Bergman film Cries and Whispers (Gritos y Susurros, or Viskningar och Rop) (1972) astonished me. Then I had the idea of linking her father's death to the historical death that occurred that year of 1975 in Spain and changed the country: Fascist dictator Franco's death (a disgusting and extremely tough “father”, by the way). The weird mix of footages and sounds gave me the idea of the introductory sentence of the video: A film found in a hard disk drive (or the modern place where we store our memories). -
Lecture Outlines
21L011 The Film Experience Professor David Thorburn Lecture 1 - Introduction I. What is Film? Chemistry Novelty Manufactured object Social formation II. Think Away iPods The novelty of movement Early films and early audiences III. The Fred Ott Principle IV. Three Phases of Media Evolution Imitation Technical Advance Maturity V. "And there was Charlie" - Film as a cultural form Reference: James Agee, A Death in the Family (1957) Lecture 2 - Keaton I. The Fred Ott Principle, continued The myth of technological determinism A paradox: capitalism and the movies II. The Great Train Robbery (1903) III. The Lonedale Operator (1911) Reference: Tom Gunning, "Systematizing the Electronic Message: Narrative Form, Gender and Modernity in 'The Lonedale Operator'." In American Cinema's Transitional Era, ed. Charlie Keil and Shelley Stamp. Univ. of California Press, 1994, pp. 15-50. IV. Buster Keaton Acrobat / actor Technician / director Metaphysician / artist V. The multiplicity principle: entertainment vs. art VI. The General (1927) "A culminating text" Structure The Keaton hero: steadfast, muddling The Keaton universe: contingency Lecture 3 - Chaplin 1 I. Movies before Chaplin II. Enter Chaplin III. Chaplin's career The multiplicity principle, continued IV. The Tramp as myth V. Chaplin's world - elemental themes Lecture 4 - Chaplin 2 I. Keaton vs. Chaplin II. Three passages Cops (1922) The Gold Rush (1925) City Lights (1931) III. Modern Times (1936) Context A culminating film The gamin Sound Structure Chaplin's complexity Lecture 5 - Film as a global and cultural form I. Film as a cultural form Global vs. national cinema American vs. European cinema High culture vs. Hollywood II. -
The Films of Ingmar Bergman Jesse Kalin Frontmatter More Information
Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information The Films of Ingmar Bergman This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman’s conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman’s films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman develops these themes cinematically, through close analysis of eight films: well-known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and im- portant but lesser-known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage. Jesse Kalin is Andrew W. Mellon Professor of Humanities and Professor of Philosophy at Vassar College, where he has taught since 1971. He served as the Associate Editor of the journal Philosophy and Literature, and has con- tributed to journals such as Ethics, American Philosophical Quarterly, and Philosophical Studies. © Cambridge University Press www.cambridge.org Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information CAMBRIDGE FILM CLASSICS General Editor: Ray Carney, Boston University The Cambridge Film Classics series provides a forum for revisionist studies of the classic works of the cinematic canon from the perspective of the “new auterism,” which recognizes that films emerge from a complex interaction of bureaucratic, technological, intellectual, cultural, and personal forces. -
Minor Storm Causes Slippery Travel
(Eatm?rttntt Sathj dampus Serving Storrs Since 1896 VOL. LXXIX NO. 60 STORRS. CONNECTICUT WEDNESDAY, JANUARY 21, 1976 K urn i This parking lol served as a harbor for cars while the campus maintainence crews worked to clear the roads following yesterdays minor snowstorm. Minor storm causes slippery travel By MARK A. DUPUIS campus roads throughout the afternoon >anding sidewalks throughout the day. accidents not to slippery sidewalks, but News Editor as motorists moved away from the said M. Frank Laudieri. physical plant students and staff taking shortcuts across Students slipped and slid around University at a crawl. director. unsanded grass areas. campus Tuesday as a minor snowstorm Campus police and fire officials report- Laudieri said sanding began early Federation of Students and Service dumped several inches of white cover ed several persons had sustained minor Tuesday morning with plowing com- Organizations Chairman Robert C. onto already covered ley walks and roads injuries from sipping and falling while pleted by mid-afternoon. Laudieri said Woodard labeled the icy conditions as with several inches of white powder. walking on the ice. A spokesmman for the most of the sanding would be completed "atrocious." attributing the icy walks to By early evening. Physical Plant and University Fire Department (UCFD) said by early Tuesday evening and students budget cutbacks at the Physical Plant. state highway department crews had at least two persons had been transported would be greeted by safer walkways as "It's my feeling that public safety is moved onto campus to plow and sand to the Infirmary by ambulance for they walked towards classes today. -
The Seven Samurai Is His Sixth Film in the Buffalo Film Seminars
AKIRA KUROSAWA (23 March 1910, Omori, Tokyo, Japan — 6 September 1998, Setagaya, Tokyo, stroke) wrote or cowrote nearly all 31 of the films he directed and edited several of them as well. Some of them are: Ame Agaru/After the Rain 1993, Yume/Dreams 1990, Ran 1985, Kagemusha 1980, Dodesukaden 1970, Yojimbo 1961 (remade in 1964 as Per un pugno di dollari and in 1996 as Last Man Standing), Kakushi toride no san akunin 1958 (remade in 1977 as Star Wars), Kumonosu jo/Throne of Blood 1957 (based on Macbeth), Shichinin no samurai/Seven Samurai) 1954 (remade as The Magnificent Seven), Ikiru 1952, Rashomon 1950 (remade as The Outrage), and Nora inu/Stray Dog 1949. Kurosawa received three Academy Awards: best foreign language picture for Rashomon and Dersu Uzala, and a Lifetime Achievement Award (1990). He received a nomination for best director for Ran. The Seven Samurai is his sixth film in the Buffalo Film Seminars. 7 FEBRUARY 2006, XII:4 AKIRA KUROSAWA: The Seven Samurai/Shichinin For much of his career Kurosawa was appreciated far more in the no samurai 1954. 206 min. West than in Japan. Zhang Yimou (director of Red Sorghum and Raise Takashi Shimura...Kambei Shimada the Red Lantern) wrote that Kurosawa was accused “of making films Toshirô Mifune...Kikuchiyo for foreigners' consumption. In the 1950s, Rashomon was criticized as Yoshio Inaba...Gorobei Katayama exposing Japan's ignorance and backwardness to the outside world – a Seiji Miyaguchi...Kyuzo charge that now seems absurd. In China, I have faced the same Minoru Chiaki...Heihachi Hayashida scoldings, and I use Kurosawa as a shield.” He directed his first film Daisuke Katô...Shichiroji in 1943 but says Drunken Angel in 1948 was really his first film Isao Kimura...Katsushiro Okamoto because that was the first one he made without official interference. -
The Jedi of Japan
Trinity College Trinity College Digital Repository Trinity Publications (Newspapers, Yearbooks, The Trinity Papers (2011 - present) Catalogs, etc.) 2016 The Jedi of Japan David Linden Trinity College, Hartford Connecticut Follow this and additional works at: https://digitalrepository.trincoll.edu/trinitypapers Part of the Arts and Humanities Commons Recommended Citation Linden, David, "The Jedi of Japan". The Trinity Papers (2011 - present) (2016). Trinity College Digital Repository, Hartford, CT. https://digitalrepository.trincoll.edu/trinitypapers/45 The Jedi of Japan David Linden The West’s image today of the Japanese samurai derives in large part from the works of Japanese film directors whose careers flourished in the period after the Second World War. Foremost amongst these directors was Akira Kurosawa and it is from his films that Western audiences grew to appreciate Japanese warriors and the main heroes and villains in the Star Wars franchise were eventually born. George Lucas and the first six films of the Star Wars franchise draw heavily from Kurosawa’s films, the role of the samurai in Japanese culture, and Bushido—their code. In his book, The Samurai Films of Akira Kurosawa, David Desser explains how Kurosawa himself was heavily influenced by Western culture and motifs and this is reflected in his own samurai films which “embod[y] the tensions between Japanese culture and the new American ways of the occupation” (Desser. 4). As his directorial style matured during the late forties, Kurosawa closely examined Western films and themes such as those of John Ford, and sought to apply the same themes, techniques and character development to Japanese films and traditions. -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
1 Akira Kurosawa: Kagemusha (1980) and Ran (1985)
1 Akira Kurosawa: Kagemusha (1980) and Ran (1985) In these two massive films, we watch Kurosawa either “losing his touch,” or “developing a more Olympian style,” depending on your viewpoint. By accident, Kagemusha is the most self- referential of works. Having as subject an “actor” who takes over a real-life “part” (the double, or kagemusha, for a warlord) from a previous actor (that is, from the previous double), it stars Tatsuya Nakadai, who took over from Toshiro Mifune when Mifune walked out on Kurosawa after the director had made his career impossible. Kurosawa had insisted on Mifune’s having his beard dyed red for the black-and-white movie Red Beard (you can sort of see the difference it makes), and Red Beard had been in shooting for two years, so Mifune had for that time been unable to accept any other roles which didn’t call for a red beard. He was a perfectionist, but he was also a professional, so he refused to work for Kurosawa again (his career went downhill all the way from then). Nakadai was already an established actor, and had worked with Kurosawa before (he’s the gun-toting bandit in Yojimbo, and the guy whose heart explodes at the end of Sanjuro ). But what’s clear in Kagemusha is the terrifying job he has, which is to give the performance Mifune would have given if only he’d been there. The only parallel I can think of is Alec Guinness giving an Alastair Sim performance in The Ladykillers – but he does that for a joke. -
Camera Stylo 2021 Web
Cries and Whispers and Prayers MENA FOUDA Mena Fouda is an aspiring storyteller. Her dignifed process includes: petting and interviewing every cat she is lucky to cross paths with, telling bedtime stories to her basil plants, smelling expensive perfume to fnd out its secrets, and dancing to dreamy music in languages she can half-understand. 61 6 Ingmar Bergman’s Cries and Whispers (1972) starts with neither cries nor whispers but a natural silence. When we are first brought into this world, we see a statue, a thing that by its very nature is made to be unmoving: a figure that crystalizes movement. It is a quiet dawn and light streams softly past the trees, suggesting a tranquil openness to this environment. At first glance, I wonder what it would be like to walk these serene fields, to dance beneath these emerging rays of light. This must be somebody’s paradise. Without warning, this utopic space bleeds a deep red, until the colour overtakes the screen and transports us somewhere inside the manor. Here, we see more statues and a number of clocks before cutting to a larger view of the internal landscape. A sense of claustrophobia wraps its vicious hands around my throat. Something dead twists in my stomach. I no longer want to walk through here. I want to leave this damned Hell. Writing about this film is difcult—not because it doesn’t stir passion within me, but because it stirs too much. Having started with this film, I have since gone on to enjoy Bergman’s other works including Persona (1966), Autumn Sonata (1978), and Wild Strawberries (1957)—but I always find myself retreating to Cries and Whispers for comparison. -
Title Seven Samurai and Silverado
Seven Samurai and Silverado -Kurosawa’s Title Influence on Lawrence Kasdan’s Revival Western- Author(s) DAVIES Brett,J Citation 明治大学国際日本学研究, 9(1): 111-119 URL http://hdl.handle.net/10291/20645 Rights Issue Date 2017-03-31 Text version publisher Type Departmental Bulletin Paper DOI https://m-repo.lib.meiji.ac.jp/ Meiji University 111 【Research Note】 Seven Samurai and Silverado: Kurosawa’s Influence on Lawrence Kasdan’s Revival Western DAVIES, Brett J. Abstract Lawrence Kasdan was one of the most successful American filmmakers of the 1980s. His third work as director, Silverado (1985), has been credited with reviving the Western pic- ture after a decade of dormancy, eschewing 1970s revisionism for a more classic approach to the genre. However, this paper will argue that Kasdan may have been influenced more by Akira Kurosawa’s Seven Samurai than by any Hollywood cowboy film. It will first ex- amine Kasdan’s style and concerns pre-Silverado, before outlining some of the similarities that samurai and Western films historically share. Finally, this paper will highlight some of the specific ways in which Kasdan’s Silverado paid homage to Kurosawa’s Seven Samu- rai, through plot, character and theme. Keywords: Lawrence Kasdan, Akira Kurosawa, Silverado, Seven Samurai, Western film, genre The Early Career of Lawrence Kasdan In the early-1980s, Lawrence Kasdan was one of the most successful screenwriters work- ing in Hollywood. His first produced screenplay was The Empire Strikes Back (1980), widely regarded as the most interesting instalment in George Lucas’s Star Wars series. This was fol- lowed by further work with Lucas, along with director Steven Spielberg, on Raiders of the Lost Ark (1981), a screenplay voted one of the “101 Greatest Screenplays” of all-time by the Writers Guild of America (2005). -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE