DOCSLIB.ORG

The Doc, the Mock and the What? to My Philosophical Friend A-M, for Inspiring a Life of Freedom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Doc, the Mock and the What? to My Philosophical Friend A-M, for Inspiring a Life of Freedom The Doc, the Mock and the What? To my philosophical friend A-M, for inspiring a life of freedom. Örebro Studies in Media and Communication 23 MIRIAM VON SCHANTZ The Doc, the Mock, and the What? Events of Realing, Mockumentalities and the Becoming-Political of the Viewing Subject Cover illustration: Screenshot of the Prezi TittaFilm, 12th May, 2016 © Miriam von Schantz, 2018 Title: The Doc, the Mock, and the What? Events of Realing, Mockumentalities and the Becoming-Political of the Viewing Subject. Publisher: Örebro University 2018 www.oru.se/publikationer-avhandlingar Print: Örebro University, Repro 2/2018 ISSN 1651-4785 ISBN 978-91-7529-230-4 Abstract Miriam von Schantz (2018): The Doc, the Mock and the What? Events of Realing, Mockumentalities and the Becoming-Political of the Viewing Subject. Örebro Studies in Media and Communications 23. This study aims at making inquiry into what happens when a viewing subject encounters a film where it proves difficult to recognize if it is factual or fictional. In order to meet this aim the dissertation offers an experimental approach of both theoretical and methodological nature. Drawing on materialist-affective theory and Deleuzian philosophy a method assemblage for mediamateriality is suggested. This offers a set of conceptual keys that makes it possible to trace the unfolding of actual encounters with blurred boundaries between the factual and the fiction- al. By performing a reception study whereby six data-producers engage with Exit Through the Giftshop, (Banksy 2010), I’m Still Here (Affleck 2010) and Catfish (Joost and Schulman 2010), a three-fold data is pro- duced. Making this resonate through the method assemblage, the series of events of spectating is seen to have functioned as an event of de- stabilization of the relationship between the viewing subject and the discourse of factuality, what is called an event of realing. This functions as a challenge to the existential territory of the viewing subject-as- spectator, bringing forth a certain mockumentality that can give cause to practices of a becoming-political of the viewing subject, notably by serv- ing as a reconfiguration of the regime of truth. However, as will be guarded against, mockumentality may potentially bring about practices that both flatten as well as hierarchize relations of power. Following this, the dissertation will end with a suggestion that the method assem- blage for mediamateriality, besides as a tool for the analytic endeavour and an ethical practice for the viewing subject (inside or outside of aca- demia), can also be put to work in a pedagogical aim, as a moving- image-pedagogics. Keywords: mockumentary, reception study, method assemblage, spectatorial contract, Deleuze, Guattari, regime of truth, becoming-political. Miriam von Schantz, School of Humanities, Education and Social Sciences Örebro University, SE-701 82 Örebro, Sweden, [email protected] Table of Contents List of Figures Acknowledgement INTRODUCTION ................................................................................... 15 Problems .................................................................................................. 22 Thesis outline and structure ..................................................................... 24 CHAPTER 1: THE PROBLEM OF UNRECOGNITION ........................ 31 The discourse of factuality ....................................................................... 32 Recognizing the play with the discourse of factuality ........................... 36 The problem of not recognizing ............................................................... 41 The affective viewing subject .................................................................... 47 The event of spectating ........................................................................ 49 The problem of the mock-mode ........................................................... 50 CHAPTER 2: THEORIZING THE METHOD ASSEMBLAGE FOR MEDIAMATERIALITY........................................................................... 55 Deleuze’s critique of representationalism ................................................. 56 Mediamaterialities, the becoming of material-affective assemblages ........ 63 The ethics of praxis, transversality of the method assemblage.................. 67 CHAPTER 3: CONCEPTS OF THE METHOD ASSEMBLAGE FOR MEDIAMATERIALITY........................................................................... 71 The moving-image-body .......................................................................... 72 Spectatorial contractions .......................................................................... 75 First contract of stabilization, the doc-contract .................................... 78 Second contract of stabilization, the mock-contract ............................. 79 A contract of de-stabilization, the missing contract ............................. 82 Conclusion: the affective mockumentary and its mibs .............................. 86 CHAPTER 4: ANALYSES, FOLDINGS .................................................. 91 Motivating the series ................................................................................ 92 Exit Through the Gift Shop ..................................................................... 94 Who speaks? The instability of the camera, parallel contracts ............. 96 The paradox of contradictory, yet dependent contractions ................ 100 Exhaustion ......................................................................................... 104 A leaking body, the missing contraction of a mibwo ......................... 110 I’m Still Here, excessive reality ............................................................... 114 Hoax or backpeddle? (sic) IMDb discussion thread ........................... 118 Becoming-animal, a mi-boo! .............................................................. 120 Catfish, the making of an excessive subject-spectator ............................ 122 Becoming-affective mock, a mibah. .................................................... 124 A note on the three-body-problem ..................................................... 129 Conclusion ......................................................................................... 131 CHAPTER 5: THE STUDY, EXPERIMENTING WITH DATA- PRODUCTION AND RECEPTION ...................................................... 133 The Study, extending an event................................................................ 134 On data and documentation .............................................................. 135 Setting it up ........................................................................................ 136 Structure of series and documentation design .................................... 140 The fika .............................................................................................. 142 Q&A, e-mails .................................................................................... 143 Prezi ................................................................................................... 145 Google.doc (Spring 2017) .................................................................. 147 CHAPTER 6: ANALYSES, UNFOLDINGS ........................................... 149 Dichotomies and Paradoxes (first e-mail/Q&A) ..................................... 149 Cutting the event through a collective body, fika ................................... 157 The doc, the mock and the what? Contractions in flux (second Q&A) .. 159 Reaching exhaustion (third Q&A) ......................................................... 165 Conclusion, emancipating the viewing subject-as-spectator, entering unlearning .............................................................................................. 171 CHAPTER 7: ANALYSIS, BODY IS AS BODY DOES .......................... 177 The Prezi, organ-izing of flux ................................................................. 178 Dis-organizing the body, exhausting the rational, a mibw-huu .......... 181 Doubting as becoming-animal, a mib-what? ...................................... 188 Re-organizing the body, a missing mib............................................... 192 Interlude: The force of the social ............................................................ 194 Conclusion: the event of realing ............................................................. 198 CHAPTER 8: MOCKUMENTALITY AS A BECOMING-POLITICAL 203 Mockumentality in the society of control of IWC .................................. 204 A neoliberal regime of truth ............................................................... 205 Mockumentality as a becoming-political ................................................ 208 A new future for the viewing subject ...................................................... 213 To practice a response-able mib as a mip ............................................... 220 Concluding remarks ............................................................................... 225 REFERENCES ....................................................................................... 231 APPENDICES ........................................................................................ 251 Appendix A --- Study questions sent through e-mail (Q&A) ............... 251 Appendix B --- How to think with Prezi .............................................. 253 Appendix C- Google.doc .................................................................... 254 List of Figures Figure
Load more

Recommended publications
  • Kaiju-Rising-II-Reign-Of-Monsters Preview.Pdf
    KAIJU RISING II: Reign of Monsters Outland Entertainment | www.outlandentertainment.com Founder/Creative Director: Jeremy D. Mohler Editor-in-Chief: Alana Joli Abbott Publisher: Melanie R. Meadors Senior Editor: Gwendolyn Nix “Te Ghost in the Machine” © 2018 Jonathan Green “Winter Moon and the Sun Bringer” © 2018 Kane Gilmour “Rancho Nido” © 2018 Guadalupe Garcia McCall “Te Dive” © 2018 Mari Murdock “What Everyone Knows” © 2018 Seanan McGuire “Te Kaiju Counters” © 2018 ML Brennan “Formula 287-f” © 2018 Dan Wells “Titans and Heroes” © 2018 Nick Cole “Te Hunt, Concluded” © 2018 Cullen Bunn “Te Devil in the Details” © 2018 Sabrina Vourvoulias “Morituri” © 2018 Melanie R. Meadors “Maui’s Hook” © 2018 Lee Murray “Soledad” © 2018 Steve Diamond “When a Kaiju Falls in Love” © 2018 Zin E. Rocklyn “ROGUE 57: Home Sweet Home” © 2018 Jeremy Robinson “Te Genius Prize” © 2018 Marie Brennan Te characters and events portrayed in this book are fctitious or fctitious recreations of actual historical persons. Any similarity to real persons, living or dead, is coincidental and not intended by the authors unless otherwise specifed. Tis book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Published by Outland Entertainment 5601 NW 25th Street Topeka KS, 66618 Paperback: 978-1-947659-30-8 EPUB: 978-1-947659-31-5 MOBI: 978-1-947659-32-2 PDF-Merchant: 978-1-947659-33-9 Worldwide Rights Created in the United States of America Editor: N.X. Sharps & Alana Abbott Cover Illustration: Tan Ho Sim Interior Illustrations: Frankie B.
    [Show full text]
  • Issue 15 Inspired by L.A
    OTIS COLLEGE OF ART AND DESIGN MAGAZINE SPRING 2014 in this issue: 04 - ALUMNI AND FACULTY ISSUE 15 INSPIRED BY L.A. 06 - KEEPING IT SIMPLE AND FRESH: MEG CRANSTON 18 - OTIS REPORT ON THE CREATIVE ECONOMY: 1 IN 10 JOBS IN CA I remember L.A. as blackety-black shadows cast from brutalist blocks that take the history of architecture and reduce and contain it silently, like lunary tombs or Aztec temples morphed into Fome-Cor® cartoons. This kind of light makes decisions easier, more black and white. Good-vs-bad, pure-vs- impure, aspiration-vs-collapse, determined grim optimism-vs-self-indulgent despair. The suggestion of an old Hollywood mono- lithic black-and-white movie set encourages self-invention and self-consciousness as you make your way down an imaginary long white staircase. There’s not another living soul on the set and the spotlight is on you, wiping out any flaw or imperfection, hallucinating yourself into who you wanna be … exactly how I remember it … forward Fashion designer Rick Owens (’81) moved from L.A. to Paris in 2003. 01 03 05 06 1. George Maitland Stanley (’24) 2. Kent Twitchell (’77 MFA) 3. Judithe Hernández (’74 MFA) 4. Insung Kim (’97) 5. Robert Irwin (’50) 6. Hillary Jaye (’90) Muses Fountain, Hollywood Bowl Harbor Freeway Overture mural, New Spring, mural for the Expo Line for Hunt Design Associates The Central Garden, The Getty for Sussman/Prezja & Co. 1938 1993 Terminus Station in Santa Monica, Identity and wayfinding program Center, 1997 Wayfinding and bus graphics Photo courtesy: Hollywood Bowl opening in 2016 for downtown L.A.
    [Show full text]
  • The Rutles: All You Need Is Cash
    SPOOFS The Rutles: All You Need Is Cash In the 1970s, Eric Idle, a former member of the legendary British com- edy team Monty Python, featured a Beatles parody song called “It Must Be Love” on Rutland Weekend Television, his own television show on BBC-2. The song had been written by Neil Innes, who had previously worked with Monty Python and the Bonzo Dog Doo-Dah Band. The song was performed by ‘The Rutles’, a Beatles look-alike band featuring Neil Innes as the John Lennon character, and Eric Idle as the Paul McCartney character (vgl. Harry 1985: 69). In October 1976, the parody was shown on America’s NBC TV’s show Saturday Night Live as a se- quel to the running gag of a Beatles reunion for $3,000. The parody went down so well that Eric Idle and Neil Innes decided to produce a feature program about The Rutles for television. Idle, who was a close friend of George Harrison, was allowed to watch Neil Aspinall’s unreleased do- cumentary about The Beatles, called The Long and Winding Road. Aspi- nall’s film featured a bulk of famous footage of The Beatles, from their first televised performance at the Cavern Club in Liverpool to their last group performance on the roof of their Apple business building. Idle u- sed The Long and Winding Road as a model for his fake-documentary about The Rutles and basically re-told the history of The Beatles pro- jected upon this imaginary rock band, adding essential elements of par- ody and the Pythonesque sense of surreal humor.
    [Show full text]
  • The Rhetorical Significance of Gojira
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph.
    [Show full text]
  • UX and Agile: a Bollywood Blockbuster Masala
    UX and Agile: A Bollywood blockbuster masala Pradeep Joseph UXD Manager Juniper Networks Bangalore What is Bollywood? Wikipedia says: The name "Bollywood" is derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Bollywood films are mostly musicals, and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. Indian audiences expect full value for their money. Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour- long extravaganza with an intermission. Such movies are called masala films, after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance and so on. Melodrama and romance are common ingredients to Bollywood films. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences. What has UX and Agile got to do with Bollywood? As a Designer I faced tremendous challenges while moving into an Agile environment. While drowning the sorrows with designers from other organizations I came to realize that they too face similar challenges. This inspired me to explore further into what makes designers sad, what makes them suck and what are the ways in which they can contribute more in an Agile environment.
    [Show full text]
  • Media Contacts List
    CONSOLIDATED MEDIA CONTACT LIST (updated 10/04/12) GENERAL AUDIENCE / SANTA MONICA MEDIA FOR SANTA MONICA EMPLOYEES Argonaut Big Blue Buzz Canyon News WaveLengths Daily Breeze e-Desk (employee intranet) KCRW-FM LAist COLLEGE & H.S. NEWSPAPERS LA Weekly Corsair Los Angeles Times CALIFORNIA SAMOHI The Malibu Times Malibu Surfside News L.A. AREA TV STATIONS The Observer Newspaper KABC KCAL Santa Monica Blue Pacific (formerly Santa KCBS KCOP Monica Bay Week) KMEX KNBC Santa Monica Daily Press KTLA KTTV Santa Monica Mirror KVEA KWHY Santa Monica Patch CNN KOCE Santa Monica Star KRCA KDOC Santa Monica Sun KSCI Surfsantamonica.com L.A. AREA RADIO STATIONS TARGETED AUDIENCE AP Broadcast CNN Radio Business Santa Monica KABC-AM KCRW La Opinion KFI KFWB L.A. Weekly KNX KPCC SOCAL.COM KPFK KRLA METRO NETWORK NEWS CITY OF SANTA MONICA OUTLETS Administration & Planning Services, CCS WIRE SERVICES Downtown Santa Monica, Inc. Associated Press Big Blue Bus News City News Service City Council Office Reuters America City Website Community Events Calendar UPI CityTV/Santa Monica Update Cultural Affairs OTHER / MEDIA Department Civil Engineering, Public Works American City and County Magazine Farmers Markets Governing Magazine Fire Department Los Angeles Business Journal Homeless Services, CCS Human Services Nation’s Cities Weekly Housing & Economic Development PM (Public Management Magazine) Office of Emergency Management Senders Communication Group Office of Pier Management Western City Magazine Office of Sustainability Rent Control News Resource Recovery & Recycling, Public Works SeaScape Street Department Maintenance, Public Works Sustainable Works 1 GENERAL AUDIENCE / SANTA MONICA MEDIA Argonaut Weekly--Thursday 5355 McConnell Ave. Los Angeles, CA 90066-7025 310/822-1629, FAX 310/823-0616 (news room/press releases) General FAX 310/822-2089 David Comden, Publisher, [email protected] Vince Echavaria, Editor, [email protected] Canyon News 9437 Santa Monica Blvd.
    [Show full text]
  • February/March 2008 Volume I; Issue 4 WE’RE ONLINE Please Enroll Me As a Member of the Larchmont Historical Society
    February/March 2008 Volume I; Issue 4 Membership Form WE’RE ONLINE Please enroll me as a member of the Larchmont Historical Society. My tax- Visit us virtually deductible dues for one year are enclosed. Annual membership year is: The at September - June.. www.larchmonthistory.org __New Member __ Renewing Member Visit our ONLINE Please indicate membership category: PHOTO MUSEUM. ___Individual $ 15 Make checks payable & mail to: Gazebo Gazette Learn more ___Family $ 25 about ___Senior (65+)& Student $ 5 The Larchmont Historical Society ___Institutional or Business $ 40 P.O. Box 742 Newsletter of the Larchmont Historical Society LARCHMONT HISTORY ___Sustaining $ 50 Larchmont, NY 10538 ___Life (individual only) $150 Find out Larchmont Luminaries Series: eral summers renting a house on Park Ave. and was about I would like to volunteer to help on the following committee(s): sometimes seen walking her pet duck on a pink ribbon MONTHLY PROGRMS Film Chicks & A Classic Flick through Manor Park. And ___Spring House Tour ___Museum Planning ___Grant Research/ SPECIAL EVENTS ___Membership ___Newsletter Writing As a special treat, Leslie Holleran will introduce “ My ___Exhibits ___Fire History ___Century Homes Club In honor of Women’s History Best Girl” with a discussion of women in Join LHS, pay dues or make ___Publicity ___Monthly Programs ___Fundraising Month, we’re celebrating two of the film industry throughout history. Ms. a donation online. ___Archives ___Special Events Larchmont’s female film luminar- Holleran’s own career credits include “The ies from yesteryear and today. Cider House Rules,” “Chocolat”, “The Find out how to research your Come join us for a special viewing Shipping News”, “An Unfinished Life”, home, join CHC, or Volunteer, Name: of one-time Larchmonter Mary “Casanova” and “The Hoax.” She is cur- ALL ONLINE! Pickford’s “finest romantic com- rently in production of her latest film, edy” on the silent screen with a “Sammy.” Ms.
    [Show full text]
  • Music and History in Italian Film Melodrama, 1940-2010
    Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 By Marina Romani A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Barbara Spackman, Chair Professor Mary Ann Smart Professor Linda Williams Professor Mia Fuller Summer 2015 Abstract Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 by Marina Romani Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies University of California, Berkeley Professor Barbara Spackman, Chair Melodrama manifests itself in a variety of forms – as a film and theatre practice, as a discursive category, as a mode of imagination. This dissertation discusses film melodrama in its visual, gestural, and aural manifestations. My focus is on the persistence of melodrama and the traces it leaves on post-World War II Italian cinema: from the Neorealist canon of the 1940s to works that engage with the psychological and physical, private, and collective traumas after the experience of a totalitarian regime (Cavani’s Il portiere di notte, 1974), to postmodern Viscontian experiments set in a 21st-century capitalist society (Guadagnino’s Io sono l’amore, 2009). The aural dimension is fundamental as an opening to the epistemology of each film. I pay particular attention to the presence of operatic music – as evoked directly or through semiotic displacement involving the film’s aesthetic and expressive figures – and I acknowledge the existence of a long legacy of practical and imaginative influences, infiltrations and borrowings between the screen and the operatic stage in the Italian cinematographic tradition.
    [Show full text]
  • Neues Von Uns Kindern Aus Bullerbü E-Mail [email protected] More About the Children of Noisy Village Dt
    Schweden Sweden Retrospektive Kinderfilme Retrospective Children’s Films 1987, 89 Min., 35 mm, Farbe colour, deutsche Fas- sung German version Ab 6 Jahren 6 years and older Regie Director Lasse Hallström Drehbuch Screenplay Astrid Lindgren, nach ihrem gleichnamigen Roman Kamera Camera Jens Fischer, Rolf Lindström, Mats Ardström Schnitt Editing Susanne Linnman Musik Music Georg Riedel Rollen Cast Linda Bergström (Lisa), Crispin Dick- son-Wendenius (Lasse), Henrik Larsson (Bosse), Ellen Demerus (Britta), Anna Sahlin (Anna), Harald Lönn- bro (Olle), Tove Edfeldt (Kerstin), Elisabeth Nordkvist (Mellangårds-Maja), Ingwar Svensson (Mellangårds- Anders) Produktion Production Waldemar Bergendahl, AB Svensk Filmindustri Mer om oss bam i Bullerbyn Adresse Address 16986 Stockholm, Tel: +46 86 80 35 00, Fax: +46 87 10 44 60, Neues von uns Kindern aus Bullerbü e-mail [email protected] More About the Children of Noisy Village dt. Verleih German distr. MFA + Filmdistribution Bismarckplatz 9, 93047 Regensburg, Tel: +49 94 15 86 Die Kinder von Bullerbü lieben die Sommerferien, aber auch 24 62, e-mail [email protected] die Vorweihnachtszeit hat für sie ihre Reize. Doch bevor sie mit glänzenden Augen endlich vor dem Weihnachtsbaum stehen, Regisseur Lasse Hallström, geboren 1946 in Stock- sind noch jede Menge Vorbereitungen zu treffen: Plätzchen und holm, arbeitet seit 1991 vornehmlich in den USA, wo er Kuchen werden gebacken, Würste und Schinken gemacht, Ge- 1994 die Schauspielerin Lena Olin geheiratet hat. schenke gebastelt und der Weihnachtsbaum geschlagen und ge- schmückt. Nun kann es losgehen: Erwachsene und Kinder fei- Director Lasse Halström was born in 1946 in Stock- ern ein fröhliches Weihnachtsfest! Doch dann bricht der Schre- holm.
    [Show full text]
  • The Beatles on Film
    Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964
    [Show full text]
  • What Is a Genre? Introduction to Genres
    C a p t i o n e d M e d i a P r o g r a m #9938 WHAT IS A GENRE? INTRODUCTION TO GENRES CLASSROOM VIDEO, 2001 Grade Level: 9-13+ 17 mins. 1 Instructional Graphic Enclosed DESCRIPTION What is a genre? What are some genres, and what are the differences between them? What are some tools used to identify a genre? How does identifying a genre aid in understanding text and characters? Helpful examples illuminate the concept of genres. ACADEMIC STANDARDS Subject Area: Language Art–Reading • Standard: Uses reading skills and strategies to understand and interpret a variety of literary texts Benchmark: Knows the defining characteristics of a variety of literary forms and genres (e.g.,fiction, nonfiction, myths, poems, biographies, autobiographies, science fiction, supernatural tales, satires, parodies, plays, drama, American literature, British literature, world and ancient literature, the Bible) (See INSTRUCTIONAL GOALS 1 and 2.) Benchmark: Understands how themes are used across literary works and genres (e.g., universal themes in literature of different cultures, such as death and rebirth, initiation, love and duty; major themes in American literature; authors associated with major themes of specific eras) (See INSTRUCTIONAL GOALS 2.) Subject Area: Language Arts–Viewing • Standard: Uses viewing skills and strategies to understand and interpret visual media Benchmark: Understands that the rules and expectations about genres can be manipulated for particular effects or purposes (e.g., combining or altering conventions of different genres, such as presenting news as entertainment; blurring of genres, such as drama-documentaries) (See INSTRUCTIONAL GOALS 2.) 1 VOICE (800) 237-6213 TTY (800) 237-6819 FAX (800) 538-5636 E-MAIL [email protected] WEB www.cfv.org Funding for the Captioned Media Program is provided by the U.S.
    [Show full text]
  • The Emergence of Digital Documentary Filmmaking in the United States
    Academic Forum 30 2012-13 Conclusion These studies are the second installment of a series which I hope to continue. Baseball is unique among sports in the way that statistics play such a central role in the game and the fans' enjoyment thereof. The importance of baseball statistics is evidenced by the existence of the Society for American Baseball Research, a scholarly society dedicated to studying baseball. References and Acknowledgements This work is made much easier by Lee Sinins' Complete Baseball Encyclopedia, a wonderful software package, and www.baseball-reference.com. It would have been impossible without the wonderful web sites www.retrosheet.org and www.sabr.org which give daily results and information for most major league games since the beginning of major league baseball. Biography Fred Worth received his B.S. in Mathematics from Evangel College in Springfield, Missouri in 1982. He received his M.S. in Applied Mathematics in 1987 and his Ph.D. in Mathematics in 1991 from the University of Missouri-Rolla where his son is currently attending school. He has been teaching at Henderson State University since August 1991. He is a member of the Society for American Baseball Research, the Mathematical Association of America and the Association of Christians in the Mathematical Sciences. He hates the Yankees. The Emergence of Digital Documentary Filmmaking in the United States Paul Glover, M.F.A. Associate Professor of Communication Abstract This essay discusses documentary filmmaking in the United States and Great Britain throughout the 20 th century and into the 21 st century. Technological advancements have consistently improved filmmaking techniques, but they have also degraded the craft as the saturation of filmmakers influence quality control and the preservation of “cinema verite” or “truth in film.” This essay’s intention is not to decide which documentaries are truthful and good (there are too many to research) but rather discuss certain documentarians and the techniques they used in their storytelling methods.
    [Show full text]