Youssou N'dour's Historical Journey Following the Trail Left by Slaves and by the Jazz Music They Invented
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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
Arbeitsergebnisse Eines Englisch-Leistungskurses Des
Arbeitsergebnisse eines Englisch‐Leistungskurses des Albrecht‐Dürer‐Gymnasiums im Rahmen der Teilnahme am Berlinale Schulprojekt 2010 zum Film Road, Movie von Dev Bengal Berlin, 22.03.2010 Inhaltsübersicht S. 2 1 . Vorbereitung, Durchführung und Auswertung des Projekts S. 3 ‐ 4 2. The Role of Religion in “Road, Movie” S. 5 ‐ 8 3. Social Order and the Caste System in India and “Road, Movie” S. 8 ‐ 11 4. Water Issues in India and in “Road, Movie” S. 11 ‐ 12 5. The Representation of Masculinity in” Road, Movie” S. 12 ‐ 14 6. Fairy Tale Elements in “Road, Movie” S. 14 ‐ 15 7. The Truck as a `character´ in “Road, Movie” S. 16 ‐ 17 8. Films in Films, as shown in “Road, Movie” S. 17 ‐ 18 9. Quellen S. 18 ‐ 19 1. Vorbereitung, Durchführung und Auswertung des Projekts Die Teilnahme des Englisch‐Leistungskurses erfolgte im Rahmen des 4. Kurssemesters zum Thema „Herausforderungen der Gegenwart“ mit dem Unterthema „Urban, Suburban and Rural Lifestyles.“ Im vorhergehenden Unterricht hatten sich die Schüler mit Fragen der Besiedlungsgeschichte der USA, der Raumerschließung und der Raumüberwindung auf dem nordamerikanischen Kontinent und der u.a. daraus abzuleitenden typischen Siedlungs‐ und Mobilitätsmuster beschäftigt. Unter anderem wurden in Kurzreferaten amerikanische Road Movies vorgestellt und auf ihre kulturellen Implikationen hin gedeutet (Freiheitsdrang, Initiation, Suche nach Identität etc.). Die Möglichkeit einer Vertiefung dieser Thematik am Beispiel des indischen Films Road, Movie traf auf großes Interesse der Schülerinnen und Schüler, wobei insbesondere von Bedeutung war, dass es sich bei Road, Movie nicht um einen Bollywood Film handelt, sondern um eine kleinere Produktion. Der Kinobesuch der Schülerinnen und Schüler erfolgte im Rahmen der Berlinale am 12.02. -
Every Good Boy Deserves Fun: One Dog's Journey to the North
Every Good Boy Deserves Fun: One Dog’s Journey to the North “North...of all geographical terms it is the most personal, the most emotional, the most elusive. And perhaps the one which evokes the most powerful feelings” (Davidson, 2009) Davidson’s description of the powerful symbolism of the North as a destination, as a dream, echoes the romantic hyperbole of the early polar explorers searching for the last untamed wilderness in an increasingly industrial world; “the great adventure of the ice, deep and pure as infinity...nature itself in its profundity” (Nansen,1894). It establishes North as the direction of adventures. This chapter will examine The North as the site of mystery and adventure… one of the last wildernesses to explore but one which is paradoxically comfortable; populated only sparsely by oddly familiar characters. Through the examination of the author’s own short animation North, it will look at the use of narrative devices and media references to reflect on the symbolism of the North –and investigate the British relationship with it; not with the media construct of The North-South divide but rather with a broader, more complex idea of a conceptual, an imagined North-ness. This is seen in relation to certain stereotypes of iconic Britishness – our relationship with the sea, and its poetic evocation through the shipping forecast, with our dogs... and with our TV-facing sofas. Drawing on its author’s own travel experiences, and field research in Norway and Iceland, the short animation North can be viewed as a Road Movie, a Hero’s Journey, with Colin the dog as unlikely hero. -
The Last Suit* Shalom Bollywood: the Untold Story of Indian Cinema an Act of Defiance and Then She Arrived Scandal in Ivansk* He
W E D NESDAY, OCTOBER 10 — 7:00 PM W E D NESDAY, NOVEMBER 28 — 7:00 PM W E D NESDAY, FEBRUARY 6 — 7:00 PM W E D NESDAY, APRIL 10 — 7:00 PM THE LAST SUIT* SHALOM BOLLYWOOD: THE UNTOLD AND THEN SHE ARRIVED HEADING HOME: THE TALE Argentina/Spain|2018|Narrative|Spanish, German, Polish STORY OF INDIAN CINEMA Israel|2017|Comedy/Drama|Hebrew with OF TEAM ISRAEL Yiddish with English Subtitles|Director: Pablo Solarz Australia/India|2018|Documentary|English, Hindi with English subtitles|Director: Roee Florentin Israel, Japan, South Korea, USA|2017|Documentary| English subtitles|Director: Danny Ben-Moshe English|Director: Daniel Miller, Jeremy Newberger This charming romantic An aging Jewish tailor leaves SHALOM BOLLYWOOD reveals and Seth Kramer comedy, based on a true his life in Argentina to the unlikely story of the 2000- HEADING HOME: THE story, follows 30-year-old embark on a journey back year-old Indian Jewish com- TALE OF TEAM ISRAEL is Dan Freilich, who has through time and halfway munity and its formative place the David-and-Goliath everything he could ever around the world in the in shaping the world's largest story of Israel’s national hope for and then some: bittersweet road movie THE film industry. When Indian baseball team as it the perfect job at his LAST SUIT. At 88, Abraham cinema began 100 years ago it competes for the first father’s law firm, the Bursztein is seeing his place was taboo for Hindu and time in the World perfect loving family, and in the world rapidly disap- Islamic women to perform on Baseball Classic. -
World Cinema Through G G Obal
COSTANZO “A wonderful textbook as well as a scholarly tour-de-force. Costanzo brings new meaning to the concept of global genres and offers up examples that convincingly demonstrate cinematic border crossings and cultural connections amongst far- flung places.” David Desser, University of Illinois at Urbana–Champaign, USA “Costanzo revitalizes both world cinema and genre studies with his stimulating, WORLD insightful cross cultural approach to warrior heroes, wedding films, horror and road WORLD CINEMA movies. It’s a well-written, scholarly work that’s as inventive as it is enjoyable.” Diane Carson, Past President, University Film and Video Association (UFVA) “William Costanzo has cut the clearest path yet through the forest of World CINEMA Cinema. Key genres take us confidently place to place, era to era; while maps, timelines, and surveys of national industries position a rich array of films, many analyzed with real mastery.” Dudley Andrew, Professor of Film and Comparative Literature, Yale University, USA THROUGH World Cinema through Global Genres offers a new response to recent trends in internationalism that shape the increasingly global character of movies. Costanzo is able to render the complex forces of global filmmaking accessible to students; instead of tracing the long histories of cinema country by country, this innovative textbook uses engaging, recent films like Hero (China), Monsoon THROUGH THROUGH G LOBAL Wedding (India), and Central Station (Brazil) as entry points, linking them to comparable American and European films. The book’s cluster-based organization allows students to acquire a progressively sharper understanding of core issues about genre, aesthetics, industry, culture, history, film theory, and representation that apply to all films around the world. -
'Jaws'. In: Hunter, IQ and Melia, Matthew, (Eds.) the 'Jaws' Book : New Perspectives on the Classic Summer Blockbuster
This is the accepted manuscript version of Melia, Matthew [Author] (2020) Relocating the western in 'Jaws'. In: Hunter, IQ and Melia, Matthew, (eds.) The 'Jaws' book : new perspectives on the classic summer blockbuster. London, U.K. For more details see: https://www.bloomsbury.com/uk/the-jaws-book-9781501347528/ 12 Relocating the Western in Jaws Matthew Melia Introduction During the Jaws 40th Anniversary Symposium1 Carl Gottlieb, the film’s screenwriter, refuted the suggestion that Jaws was a ‘Revisionist’ or ‘Post’ Western, and claimed that the influence of the Western genre had not entered the screenwriting or production processes. Yet the Western is such a ubiquitous presence in American visual culture that its narratives, tropes, style and forms can be broadly transposed across a variety of non-Western genre films, including Jaws. Star Wars (1977), for instance, a film with which Jaws shares a similar intermedial cultural position between the Hollywood Renaissance and the New Blockbuster, was a ‘Western movie set in Outer Space’.2 Matthew Carter has noted the ubiquitous presence of the frontier mythos in US popular culture and how contemporary ‘film scholars have recently taken account of the “migration” of the themes of frontier mythology from the Western into numerous other Hollywood genres’.3 This chapter will not claim that Jaws is a Western, but that the Western is a distinct yet largely unrecognised part of its extensive cross-generic hybridity. Gottlieb has admitted the influence of the ‘Sensorama’ pictures of proto-exploitation auteur William Castle (the shocking appearance of Ben Gardner’s head is testament to this) as well as The Thing from Another World (1951),4 while Spielberg suggested that they were simply trying to make a Roger Corman picture.5 Critical writing on Jaws has tended to exclude the Western from the film’s generic DNA. -
Festival of New Cinema, Digital Culture & Art Manchester & Across
29 Aug – 02 Sep 2012 Festival of New Cinema, Digital Culture & Art Manchester & across the North West andfestival.org.uk Exhibitions Festival of New Cinema, Digital Culture and Art This summer, Abandon Normal Devices invites you to experience a festival that highlights the complexities, gradations and anomalies encountered when we examine success as an ideal. AND 2012 is as much about work evolving over time, artists experimenting, and setting ambitious parameters, as it is about finished exhibitions. The experience of success can be fleeting and addictive. A strategy for survival; a money-spinner and a motivator: Rewards can have us going around in circles, travelling far but getting nowhere. We have become the status chasing generation; #winning is our meme. Through unusual strategies, the artists and filmmakers working in this year’s festival reveal alternative ways of being by offering rich counterpoints to perfection and undermining accepted logic. During a kaleidoscopic five days, unlikely monuments will be inflated, failed technological dreams will be resurrected and extinct industries will be salvaged and rebuilt. We share artworks, which hold a mirror to celebrity culture and shirk responsibility for the financial crash. Alongside these are a number of events that focus on self-improvement, from workshops to enhance your charisma, make-overs that better-prepare you for 2020 and teenagers on-site and online ready to solve all your problems. This, plus a cacophony of late-night actions and events make up our festival in 2012. We accept that, whenever we strive for something new, there is always the chance we will fail, but in a hyper-competitive Olympic year, AND’s attention is drawn to subtlety, humour, vulnerability and tenacity. -
The Interaction Between Politics and Popular Culture at the End of Wars
Conflict, Culture, Closure: The interaction between politics and popular culture at the end of wars Cahir O’Doherty A thesis submitted for the degree of Doctor of Philosophy School of Geography, Politics and Sociology Newcastle University August 2019 ii Abstract In this thesis I engage with the topic of how popular culture and politics interact at the end of conflict. Using contemporary Hollywood action cinema from 2000 to 2014 and political speeches from the Bush and Obama administrations, I pose the question of how do these seemingly disparate fields forge intense connections between and through each other in order to create conditions of success in the War on Terror. I utilise the end of wars assemblage to argue that through intense and affective encounters between cinema screen and audiences, certain conditions of success emerge from the assemblage. These conditions include American exceptionalism and the values it exemplifies; the use of technology in warfare as co-productive of moral subjectivities; the necessity of sacrifice; and the centrality of the urban landscape and built environment. I then proceed to assess the resilience of the end of wars assemblage and its conditions of success by engaging with cinematic and political artefacts that have the potential to destabilise the assemblage through genre inversion and alternative temporalities. Ultimately, I argue that the assemblage and its conditions of success are strongly resilient to change and critique. The conditions of success that emerge from the assemblage through intense affective encounters can then be politically deployed make a claim that a war has ended or will end. Because audiences have been pre-primed to connect these conditions to victory, such a claim has greater persuasive power. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009).