DOCSLIB.ORG

Tulsa Community College Fall 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tulsa Community College Fall 2016 syllabus Tulsa Community College Fall 2016 Course Information Course Name: I_HUMN_2613 International Film Sections: 390 CRN: 14187 Start Date: 08/22/2016 End Date: 12/10/2016 Format: Online Instructor Information Email: [email protected] Instructor: P. Diane Knapp, PhD Division Office Information Campus/Office #: SEC 7124 Division: Liberal Arts Office Hours: by appointment Campus/Office #: SEC 1202 Phone: 918-595-8612 Phone: 918-595-7694 It is much easier to reach me through email which forwards to my home from the above address. My office answering machine is terribly unreliable. Course Description & Prerequisites Course Description This course is the analytical study of exemplary international films in terms of major historical periods or trends, themes, and aesthetics. It includes the critical analysis of aesthetic and narrative traditions of film as a reflection of the humanistic values of the cultures of their production. Students will discuss and write critically about film as an art form as well as about film in relation to culture. Technical Prerequisites You should be familiar with the following: using a word processor (changing font, spell check) accessing and navigating the course Blackboard site as instructed in the Online Orientation accessible on the Blackboard Welcome page managing files and folders on your computer uploading and downloading files navigating from one application (program) to another navigating the Internet using an Internet search engine downloading and installing software using email for communication Page 1 Goals and Objectives General Education Goals General Education courses at TCC ensure that our graduates gain skills, knowledge, and abilities that comprise a common foundation for their higher education and a backdrop for their work and personal lives. TCC’s General Education goals are: Communication Skills, Critical Thinking, Empirical Skills, Teamwork, Personal Responsibility, and Social Responsibility. Student Learning Outcomes Upon successful completion of this course students will be able to— 1. identify and analyze exemplary International Films 2. recognize how and why social/ cultural/historical context has aesthetic effects. 3. explain and evaluate ideas, concepts, and/or values that are central to the study of International Film Program outcomes Students will be able to articulate the international relevance of film in understanding the human condition. Course Materials Required Textbook Bordwell & Thompson, Film Art: An Introduction, 11th ed., New York: McGraw Hill. You may purchase the textbook via the TCC Online Book Store or at the Northeast Campus bookstore. It may also be available on other online book sites. Required Materials The films assigned are listed at the end of this syllabus. They are all available in the Southeast Campus Library on reserve. They may be viewed on campus only. Many are available for check out from the Tulsa Public Library system. You can request a film from your local branch, and they will order it from the central library. Some are available on YouTube, for rental from online movie rental outlets (i.e., Netflix, Amazon, Yidio, etc.) or other internet sources. Google the film title, and options will be available. Battleship Potemkin is available for streaming from Netflix. Hulu Plus is a good resource for film lovers, as they have a partnership with the boutique video label The Criterion Collection, and they offer hundreds of classic, art, and foreign films. The service is $7.99/month and the first month is free. The films for this class available on Hulu Plus are: The Seventh Seal, Diabolique, The Gods Must Be Crazy, Breathless, Metropolis, The 39 Steps, and Seven Samurai. To clarify, that's seven of the thirteen films required for this class available to stream (most, if not all, in HD) on Hulu. Microsoft Office – Free Download If you do not have Office, you can download it from MyTCC. 1. Go to the MyTCC portal. Page 2 2. Go to the My Account tab. Look for the Software downloads link in the Quick Links module. 3. Follow the on-screen instructions. TCC Email All TCC students receive a designated college email address (ex: [email protected]). All communications to you about TCC and course assignments will be sent to your college email address. You must use the college email to send email to, and receive email from, the instructor regarding this course. You access the college email via MyTCC (https://mytcc.tulsacc.edu). Teaching Methods [On the BB toolbar] Course Information Along with the Syllabus and Course Calendar, there are instructions and criteria for all of your coursework posted here. Consult the Course Calendar for all due dates. Assignments All assignments for the course are posted here. Consult the Course Calendar for due dates There is also a place to post the Journal at the end of the semester. All papers must be a minimum of 1000 words before the Works Cited page, typed with double-spaced lines in 12-point font. You can keep track of the words through “Word Count.” papers must be submitted in microsoft word only; “Wordpad” “Notepad” and “Works” formats are not always compatible with Blackboard. Grammar, spelling, and punctuation matter, so use the Spell/Grammar check feature. Submit all assignments according to the instructions under Course Information or in the student orientation on the Student tab at the top of the BB page. Papers are to be written in formal, academic English with correct spelling and punctuation, and with a clear thesis statement at the beginning and a comprehensive summary at the end. This will definitely figure into the grade. Proper documentation in MLA style is required, including in- text citations and a “Works Cited” page, even if the only source is the textbook. Guidelines for MLA style are available online at the TCC/Library website as well as on the Library tab. Note: Wikipedia and its apps. will not be accepted as a source or reference for this course. far They are far too unreliable. THIS IS VERY IMPORTANT: Title and save all papers in your documents in the following manner: your last name, first initial, assignment number. For example: DoeJ1, DoeJ2, etc. Directions for submitting your papers are posted or can be accessed on the student BB tab. I will not receive the paper unless you complete all of these steps. There is also a document posted under Course Information that reviews this procedure. If the paper has been successfully submitted, you will receive an immediate notification of successful receipt. I will post your grade to the STUDENT GRADE BOOK along with comments if points were deducted, as well as discussion grades, within a week following the deadline. Papers are worth 15 total points and will be assessed using the following rubric: Page 3 Grading Rubric for Essays A. Content 8 points Clear thesis statement and summary paragraph Valid and substantial evidence without excessive direct quotes Covers the topic fully and accurately using academically appropriate language. Indicates an insightful and substantive grasp of the subject while staying on-topic B. Style and Format 4 points Meets or exceeds the minimum word requirement Proper format Submitted on time Proper documentation and works cited page in MLA format C. Mechanics 3 points Proper spelling, grammar, and usage Proper punctuation, capitalization, and use of italics. Proper sentence structure with correct verb tens 15 points Discussions All discussion questions with the due dates are posted here. Review the “criteria for discussions” under Course Information before you begin discussions. You are required to post twice on each topic; first, to post an original idea or argument and a second to respond to a classmate’s posting. You may post at any time during the week as long as you submit by the deadlines, and you can post as many times as you wish. Both weekly postings must be a minimum of 100 words each. to be sure you meet the word minimum, write your postings first in word then check the word count. When you have met the requirement, cut and paste your submission to the discussion boards text box. To add your part of the discussion, click on add thread. To reply to a classmate, click reply. No late discussion postings will be accepted. Grades will be assessed based on the following rubric: Posting requirements met, including word count, that demonstrate substantive insights and original thought 4 points Two postings; one does not meet the requirements 3 points Two postings; neither meets requirements 2 points or only one post Only one posting; does not meet the requirements 1 point No posting 0 Page 4 Grading Policy Assessment There will be five assigned papers (see criteria for papers) for the course. The lowest assignment grade will be dropped, leaving 4 papers that count toward a final grade. A less formal evaluation of student understanding consists of ten online discussions (see criteria for discussions) that are designed to allow students to explore and share their reactions and understandings of the films. There are no exams in this course; therefore, all grades will be determined by four/ five papers (each worth 15 points) and 10 online discussions (worth 4 points each), which totals 100 points for the course. The final grade will be determined by adding the total points accumulated through the semester and applying the following formula: 100 - 90 A 89 – 80 B 79 – 70 C 69 – 60 D 59 – 0 F I DO NOT ACCEPT EXTRA CREDIT! Late Work Policy Of the papers, only ONE of the first two may be turned in no more than 48 hours late. The final paper must be turned in on time, no exceptions. Following the 48-hour late deadline, I deduct 2 points for the first day late, and 1 point each day following.
Load more

Recommended publications
  • Beneath the Surface *Animals and Their Digs Conversation Group
    FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you.
    [Show full text]
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • Memory, History, and Entrapment in the Temporal Gateway Film
    Lives in Limbo: Memory, History, and Entrapment in the Temporal Gateway Film Sarah Casey Benyahia A thesis submitted for the Degree of Doctor of Philosophy (PhD) Department of Literature, Film, and Theatre Studies University of Essex October 2018 Abstract This thesis examines the ways in which contemporary cinema from a range of different countries, incorporating a variety of styles and genres, explores the relationship to the past of people living in the present who are affected by traumatic national histories. These films, which I’ve grouped under the term ‘temporal gateway’, focus on the ways in which characters’ experiences of temporality are fragmented, and cause and effect relationships are loosened as a result of their situations. Rather than a recreation of historical events, these films are concerned with questions of how to remember the past without being defined and trapped by it: often exploring past events at a remove through techniques of flashback and mise-en-abyme. This thesis argues that a fuller understanding of how relationships to the past are represented in what have traditionally been seen as different ‘national’ cinemas is enabled by the hybridity and indeterminacy of the temporal gateway films, which don’t fit neatly into existing categories discussed and defined in memory studies. This thesis employs an interdisciplinary approach in order to draw out the features of the temporal gateway film, demonstrating how the central protagonist, the character whose life is in limbo, personifies the experience of living through the past in the present. This experience relates to the specifics of a post-trauma society but also to a wider encounter with disrupted temporality as a feature of contemporary life.
    [Show full text]
  • World Competition
    El Cuento de las Comadrejas - The Weasel's Tale 2019 | 129' | Spanish | Argentina | Spain | Colour Opening Film Director: Juan José Campanella Producer: Juan José Campanella, Gerardo Herrero, Axel Kuschevatzky Cast: Clara Lago, Oscar Martínez, Graciela Borges Screenplay: Juan José Campanella, Darren Kloomok Cinematographer: Félix Monti Editor: Juan José Campanella A beautiful star from the cinema Golden Age, an actor in the Sound Designer: José Luis Díaz twilight of his life, a witty scriptwriter and a cunning director Music Composer: Emilio Kauderer live together in a mansion where they have created an unusual environment. The arrival of a young couple seeking to Costume Designer: Cecilia Monti persuade the actress to sell the house, forces the other Production Designer: Nelson Noel Luty inhabitants to come together and conspire to prevent it. Production Company: 100 Bares, Tornasol, Jempsa World Sales: Latido films World Sales Phone: +34 915 488 877 World Sales Email: [email protected] Festivals: San Sebastian FF 2019, Ventana Sur 2019, IFFI 2019, Valladolid IFF 2019 Juan Jose Campanella (born July 19, 1959) is 2019 The Weasel's Tale an Argentinian film and television director. He 2014 Halt And Catch Fire has won 45 international awards for his work. 2009 The Secret In Their Eyes He is best known for writing and directing The Secret in Their Eyes, which won the Academy 2004 Moon Of Avellaneda Award for Best Foreign Language Picture. 2001 The Son Of The Bride Campanella mostly works on films in his native Argentina, and on television projects in the United States, where he went to film school.
    [Show full text]
  • The International Film Festival at Penn State Harrisburg
    ! The International Film Festival at Penn State Harrisburg 2011Friday February 18 through Saturday February 26 The Program The Penn State Harrisburg International Film Festival celebrates its 11th consecutive year with a program that includes notable films from around the world. Highlights include two matinee screenings from the New York International Children’s Film Festival, with innovative live-action and animation short films suitable for children, and a reception with the filmmaker Lisa Gossels, who will present her documentary “My So-Called Enemy,” about the experience of Israeli and Palestinian Israeli girls who participated in the women’s leadership program Building Bridges for Peace. 2/18! 7:00 p.m. Friday, White Wedding, South Africa 2009 2/19! 2:00 p.m. Saturday, Kid Flix Mix, International, 2010 ! 7:00 p.m. Saturday, Welcome, France, 2010 2/24! 6:30 p.m. Thursday, My So-Caled Enemy,U.S. with guest filmmaker Lisa Gossels 2/25! 7:00 p.m. Friday, The Secret in Their Eyes, Argentina, 2010 2/26! 2:00 p.m. Saturday, PartyMix, International, 2010! ! 3:30 p.m. Saturday, Not Al Rivers Flow to the Sea, Colombia, 2009 ! 7:00 p.m. Saturday, Alamar, Mexico, 2010 As always, the festival is free and open to the public! All screenings in the Kunkel Auditorium, C-213 Olmsted hbg.psu.edu/filmfestival! 1 Sponsored by the School of Humanities and the Student Activities Fund Friday 2/18 7:00 p.m., White Wedding, South Africa 2009 directed by Jann Turner Set against South Africa’s beautifully varied landscapes, this high-spirited comedy is a feel-good movie about love, commitment, intimacy, friendship and all the maddening obstacles that can get in the way of a happy ending.
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]
  • The Secret in Their Eyes Somewhat Surprisingly, the Argentine Film
    The Secret in Their Eyes Somewhat surprisingly, the Argentine film “The Secret in Their Eyes” (El Secreto de Sus Oyos in Spanish) was the winner of the Oscar for the Best Foreign Language Film released in 2009. Few in Washington had heard of it, much less seen it. It has finally opened locally at several local art houses, and this review is one shout out to see this finely crafted film before it leaves town prematurely (in Spanish with subtitles). The film opens in Buenos Aires in the year 1999, when a newly-retired criminal court investigator clerk, Benjamin Esposito (Ricardo Darin), begins reflecting on—and hoping to resolve—a notorious rape/murder case of 25 years before in which he was involved. He brings his project to his one-time supervisor, now a judge, Irene Menéndez-Hastings (Soledad Villamil), with whom he has been in love for years. Esposito looks to write a novel based on the unresolved case, which still haunts him, and he consults with Irene in his research. The film then flashes back to 1974 to follow the case’s original intricacies involving the devastated husband of the victim, Ricardo Morales (Pablo Rago), as well as Benjamin’s boss Irene, and his principal office colleague, the roguish drunk Sandoval (the comic Guillermo Francella). Esposito and Sandoval eventually identify a likely prospect, Soledad Villamil and Ricardo Darin in Oscar winner the surly thug Isidro Gomez (Javier Godino), who eventually confesses to Benjamin and Irene (in a fascinating good-cop, bad-cop sequence). Though convicted, Gomez gets off suddenly and mysteriously through the intervention of the then-Peronist government.
    [Show full text]
  • Course Outline 3/23/2018 1
    5055 Santa Teresa Blvd Gilroy, CA 95023 Course Outline COURSE: HUM 6 DIVISION: 10 ALSO LISTED AS: TERM EFFECTIVE: Fall 2018 CURRICULUM APPROVAL DATE: 03/12/2018 SHORT TITLE: CONTEMPORARY WORLD CINEMA LONG TITLE: Contemporary World Cinema Units Number of Weeks Contact Hours/Week Total Contact Hours 3 18 Lecture: 3 Lecture: 54 Lab: 0 Lab: 0 Other: 0 Other: 0 Total: 3 Total: 54 COURSE DESCRIPTION: This class introduces contemporary foreign cinema and includes the examination of genres, themes, and styles. Emphasis is placed on cultural, economic, and political influences as artistically determining factors. Film and cultural theories such as national cinemas, colonialism, and orientalism will be introduced. The class will survey the significant developments in narrative film outside Hollywood. Differing international contexts, theoretical movements, technological innovations, and major directors are studied. The class offers a global, historical overview of narrative content and structure, production techniques, audience, and distribution. Students screen a variety of rare and popular films, focusing on the artistic, historical, social, and cultural contexts of film production. Students develop critical thinking skills and address issues of popular culture, including race, class gender, and equity. PREREQUISITES: COREQUISITES: CREDIT STATUS: D - Credit - Degree Applicable GRADING MODES L - Standard Letter Grade REPEATABILITY: N - Course may not be repeated SCHEDULE TYPES: 02 - Lecture and/or discussion STUDENT LEARNING OUTCOMES: 1. Demonstrate the recognition and use of the basic technical and critical vocabulary of motion pictures. 3/23/2018 1 Measure of assessment: Written paper, written exams. Year assessed, or planned year of assessment: 2013 2. Identify the major theories of film interpretation.
    [Show full text]
  • February 2020 Newsletter
    FEBRUARY 2020 NEWSLETTER Hello to all our members. By the time you read this, it will be Oscar morning. Film fans across the world will cheer or curse the results, lament the snubs and argue bitterly about the Academy Awards' modern relevance. I'm more invested in this year's Oscars than usual, as I've seen fve of the nine Best Picture nominees. I hope Bong Joon-ho's darkly hilarious, superbly-paced social satire Parasite wins Best Picture – which would make it the frst ever non-English language flm to win – but I would also be happy if Taika Waititi's absurd yet hard-hitting comedy Jojo Rabbit or Sam Mendes' harrowing one-take war movie 1917 win. While I found Todd Phillips' Joker to be an enthralling character study reminiscent of There Will Be Blood and Aguirre: The Wrath of God, I would be somewhat disappointed if Joker won Best Picture, as I enjoyed the above flms far more. Some of my cinephile friends have also made a strong case that such a relentlessly nihilistic flm should not win Best Picture. Arthur Fleck heals by embracing his madness as the Joker, but the flm shouldn't frame this as a good thing. I will be very annoyed if Quentin Tarantino's Once Upon A Time In Hollywood wins Best Picture. While this flm had outstanding atmosphere and a deeply compelling core in Rick Dalton's (Leonardo DiCaprio) character arc as an ageing movie star, the plot was bloated and undisciplined, with several redundant characters and a tacked-on third act involving the Manson Family cult.
    [Show full text]
  • Perverse Fascinations and Atrocious Acts: an Approach to the Secret in Their Eyes by Juan Jose Campanella
    Perverse Fascinations and Atrocious Acts: An Approach to The Secret in Their Eyes by Juan Jose Campanella Author Hortiguera, Hugo Published 2012 Journal Title Studies in Latin American Popular Culture Copyright Statement © 2012 University of Texas Press. This is the author-manuscript version of this paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/48121 Link to published version http://utexas.metapress.com/content/1547k7237031k345/? p=550a35ecf4cf470abf8e39edf66e4d1d&pi=0 Griffith Research Online https://research-repository.griffith.edu.au 1 Studies in Latin American Popular Culture Title. “Perverse fascinations and atrocious acts: An approach to The Secret in Their Eyes by Juan José Campanella. Author: Dr. Hugo Hortiguera Senior Lecturer Spanish Studies Institutional affiliation and address: School of Languages and Linguistics N06 Patience Thoms Bldg, room -1.24 Nathan Campus Griffith University Nathan. Queensland 4111. Australia Email: [email protected] Phone.: +61 7 3875 7218 Abstract By focusing on the intersection of recurring universes between Eduardo Sacheri’s La pregunta de sus ojos [The Question in Their Eyes] and its adaption in Juan José Campanella’s The Secrets in Their Eyes [El secreto de sus ojos], this paper explores the persistence of certain ideological effects of "perverse fascination" that the film, unlike the book on which it is based, tries to provoke in its audience. It analyses the discursive links with a language marked by a political tension that evidences the failure of a social system that seems to place its community beyond the civilizational boundaries of reason (Agamben).
    [Show full text]
  • Newsletter C-11
    NEWSLETTER C-11 No Red Carpets for the stars this year As this latest Newsletter C-11 arrives on our website for you to read, and as we said back in February, most of the big annual shebangs called awards ceremonies will have come and gone by the end of April, most, though not quite all - the Oscars was a limited live event - in a virtual Netflician blink of the eye. And, of course, thanks to the worldwide pandemic, those familiar red carpets will have stayed in darkened storerooms, whilst the precious stars who would have been asked to walk the walk have instead been couching the couch as the gongs have been announced via zoom or similar technology. There is more to read about those awards later, but before we reveal the winners, just a word about our spoof article in Newsletter C-10 (still on the website if you haven’t yet accessed it). Our day-to-day financial comings and goings are now a minor pain in the leg for Adrian as it is he who deals with such things and is thus having to trek to town to do our banking, but the article for April Fool’s Day, about threepenny bits, florins, guineas etc., was inspired by a Spanish newspaper article about a quite genuine arrangement that was set up recently by the Artistic Metropol cinema in Madrid, a venue which describes itself as la primera sala de cine de Madrid especializada en cine independiente. Here is the low-down on this movie theatre’s imaginative scheme.
    [Show full text]
  • The Last Heist Revisited: Reimagining Hollywood Genre in Contemporary
    The last heist revisited: reimagining Downloaded from Hollywood genre in contemporary Argentine crime film http://screen.oxfordjournals.org/ RIELLE NAVITSKI In the context of a resurgence in film production in Argentina over the past decade, the internationally acclaimed art house films by nuevo cine at University of Georgia on September 8, 2014 argentino (New Argentine Cinema) directors such as Lucrecia Martel and Pablo Trapero have been overshadowed at the domestic box office by releases which reenvision Hollywood-style crime genre narratives in a local context. Many of the local productions that have had the greatest popular success – Fabián Bielinsky’s intricately plotted Nueve reinas/ Nine Queens (2000), for example, and Marcelo Piñeyro’s graphically violent Plata quemada/Burnt Money (2000) – capitalize on the dizzying plot twists, dynamic action sequences and highly colloquial dialogues of 1 1 See Foster Hirsch, Detours and Lost the heist film and neo-noir genres, drawing on the styles cultivated by Highways: a Map of Neo-Noir directors such as Bryan Singer, Christopher Nolan and Quentin Tarantino (New York, NY: Limelight, 1999), and Ronald Schwartz, Neo-Noir: in Hollywood during the 1990s and early 2000s. the New Film Noir Style from This diverse group of recent Argentine crime films, which I will Psycho to Collateral (Lanham, MD: collectively refer to as the ‘new policiales’,2 has given a new twist to Scarecrow, 2005). ‘ ’ ‘ ’ 2 The term implies a police conventional narrative tropes such as the perfect crime , the last job , and procedural, but is often used to ‘the big score’. Bielinsky’s Nine Queens and his 2005 follow-up El aura/ refer to a broad range of mystery The Aura focus respectively on an intricate scam and an elaborate casino films and thrillers.
    [Show full text]