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Poetry-Film & the Film Poem
Poetry-Film & The Film Poem: Some Clarifications Ever since experimental filmmakers and critics starting theorising the concepts behind avant-garde visual explorations, the idea of poetry was seen as a fruitful model for the creative process of the more lyrical side of experimental film practices. The working mode of the narrative-liberated filmmaker seemed somehow analogous to this of the modernist poet. In some cases (like this of Stan Brakhage) even the very lifestyle of the filmmaker resembled that of the romantic poet, as did the modes of production in creating and distributing the work. This appears as somewhat of a contradiction when we read some of the statements / manifestos of film artists, within which they often stress the importance of film as an independent art, suggesting that film could only be a respectable art form if it struggles to work within the specificities of its own language. [The notion of medium-specificity is a commonplace for modernism]. In the opening sequence of ‘The Man With The Movie Camera’, Dziga Vertov writes his manifesto: “The film presents an experiment in the cinematic communication of visible events without the aid of intertitles (a film without intertitles), without the aid of a scenario (a film without a scenario), without the aid of theatre (a film without actors, without sets etc). This experimental work aims at creating a truly international absolute language of cinema based on its total seperation from the language of theatre and literature”1 In this statement Vertov asks audience and filmmakers alike to see filmmaking as an independent art form with its own language, a language that does not need to borrow from other arts to be meaningful. -
AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques. -
The Technological Imaginary of Imperial Japan, 1931-1945
THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology. -
Downloads of Technical Information
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Nuclear Spaces: Simulations of Nuclear Warfare in Film, by the Numbers, and on the Atomic Battlefield Donald J. Kinney Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES NUCLEAR SPACES: SIMULATIONS OF NUCLEAR WARFARE IN FILM, BY THE NUMBERS, AND ON THE ATOMIC BATTLEFIELD By DONALD J KINNEY A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Donald J. Kinney defended this dissertation on October 15, 2018. The members of the supervisory committee were: Ronald E. Doel Professor Directing Dissertation Joseph R. Hellweg University Representative Jonathan A. Grant Committee Member Kristine C. Harper Committee Member Guenter Kurt Piehler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Morgan, Nala, Sebastian, Eliza, John, James, and Annette, who all took their turns on watch as I worked. iii ACKNOWLEDGMENTS I would like to thank the members of my committee, Kris Harper, Jonathan Grant, Kurt Piehler, and Joseph Hellweg. I would especially like to thank Ron Doel, without whom none of this would have been possible. It has been a very long road since that afternoon in Powell's City of Books, but Ron made certain that I did not despair. Thank you. iv TABLE OF CONTENTS Abstract..............................................................................................................................................................vii 1. -
History of LASD Officer Survival Training Officer Survival – in The
History of LASD Officer Survival Training By Deputy Chris Miller (retired) Lieutenant Mike McAndrews (retired) Los Angeles County Sheriff’s Museum Officer Survival – In the Beginning On September 5, 1967, Mike McAndrews began his career with the Los Angeles County Sheriff’s Department as a cadet in Academy Class 119. He endured months of lectures, training, and tests. From their first day in the Academy, cadets in Class 119 saw posters on the walls with survival quotes such as, “The more you sweat in training, the less you bleed in the streets” and “The radio is your lifeline.” (The only radio available to patrol deputies at the time was in the radio car. Portable radios were not issued to deputies until years later.) To reinforce officer survival lessons throughout their academy training, drill instructors demanded cadets carry nothing in their gun hand so they would be free to draw their weapon at any given moment. During physical training, falling out on a run meant dying in a street fight. The message was clear: There is nothing more important than officer survival. Finally, the day of their first officer survival lecture arrived. Every member of Class 119 was eager to hear what would be said. Their instructor was a staff member from another class. The officer survival lecture was his specialty. His uniform appearance was magnificent and everything was perfect up until the moment he opened his mouth. His first move was to walk to an easel and pull the cover off a poster-size picture of a nude male dead body laid out on a coroner’s examination table. -
Factfile: Gce As Level Moving Image Arts the Influence of Alfred Hitchcock’S Cinematic Style
FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE The influence of Alfred Hitchcock’s Cinematic Style Learning outcomes Students should be able to: • explain the influence of Hitchcock’s cinematic style on the work of contemporary filmmakers; and • analyse the cinematic style of filmmakers who have been influenced by Hitchcock. Course Content Alfred Hitchcock’s innovative approach to visual In the 1970’s, as his career was coming to an storytelling and the central themes of his work have end, Hitchcock was a seminal influence on the had a profound influence on world cinema, shaping young directors of the New Hollywood, including film genres such as crime and horror and inspiring Steven Spielberg, Francis Ford Coppola, Martin generations of young directors to experiment with Scorsese and Brian De Palma. Over the past four film language. decades, this influence has expanded greatly with Hitchcock’s body of work functioning as a virtual In Paris in the 1960’s, French New Wave directors, film school for learning the rules of the Classical Francois Truffaut and Claude Chabrol embraced Hollywood Style, as well as how to break them. The Hitchcock’s dark vision of criminality, while in director’s influence is so far-reaching, that the term London, young Polish director Roman Polanski ‘Hitchcockian’ is now universally applied in the created a terrifying Hitchcockian nightmare in his analysis of contemporary cinema. The directors of debut film, Repulsion (1965). the New Hollywood drew inspiration from a wide range of Hitchcock’s techniques. 1 FACTFILE: GCE AS LEVEL MOVING IMAGE ARTS / THE INFLUENCE OF ALFRED HITCHCOCK’S CINEMATIC STYLE Martin Scorsese through an automated car factory in which the film’s hero is encased in a newly-built vehicle. -
The Making of the Independent Short Film, Teatriños: Homenaxe Ao Mineral Do Repolo
The Making of the Independent Short Film, Teatriños: Homenaxe ao mineral do repolo (Little Theatres: Homage to the Mineral of Cabbage.) Stephanie Dudley Sometime in 2007, I decided to make my first short film. I chose the medium of stop motion puppetry for the film, and all sets, puppets, and decorations were created by hand. The film is about cabbage, and is based on Erín Moure’s poem, Homage to the Mineral of Cabbage. The decision to make this film had been about a 10 years development, and this little cabbage film has since created many waves in my life. I went to art school in the mid 1990s. I majored in Drawing and Painting at Ontario College of Art and Design (now OCAD University), and was mostly interested in trying out different media, or using old media in new ways. So while I painted with oils in the traditional way, on canvas and panels, I also painted with oils on plasticky architectural vellum; or on substrate-less acrylic layers, created by hand, so that the final painting looked like it was painted on a delicate, translucent skin. I took photography classes where I experimented either in the darkroom, or with polaroids and photocopiers, altering images in a way that would make them part painting, part sculpture, part photograph. Without ever using a computer, I thought of myself as a multimedia artist. I did not know how to use Photoshop or any other graphics program. I just wasn’t that interested. Stephanie Dudley Early on in my last year of college, I was involved in an art show, with several of my paintings and mixed-media photography on display in the school’s atrium. -
About Me Work Education Skills Languages
Ranjan Rampal Film Editor, Filmmaker, Poet f photographer, videographer, designer, Teacher (Filmmaking) FTII, FAMU ABOUT ME SKILLS Dedicated to make good films and art, seeker for associating with good creative FILM EDITING a DRAMATURGY artists, producers, directors, and viewers. I am a film editor, dramaturg, filmmaker and poet, nurturing and improving my craft that I studied at film school(FTII / STORY a CHARACTERISATION FAMU) and mass communication (BJMC, GGSIPU University, Delhi). I am good in CAMERA a SOUND team management, strategy, Idea development and keen on perfection as an TECHNICAL artist. I am enriching as a teacher. Always happy for good WORK to associate with. (FCP, FCPX, AVID, PREMIERE, PHOTOSHOP), CAMERAS, FILM , DIGITAL WORK POETRY TEACHING FEATURE FILMS Edited 1 feature fiction film and 1 documentary feature film. Learning never stops and ultimate happiness is to see the work EDUCATION finally taking its shape, Shaping is my work. 2014 - Self Learner and Researcher present SHORT FILMS 2014 - present ( Prague, Czech Republic ) Edited and directed different short films of different lengths, in different Learning, Researching and exploring new film techniques, languages like Hindi, Marathi, Russian, Czech and English on digital as Indian New wave Cinema and Indian aesthetics of Drama, well as on film (16mm, 35mm). Edited on flatbed Steinbeck and also on comparing with European asthetics and Czech New wave softwares like FCP X, FCP 7, Avid and Premeire Pro. For me films are cinema. Working on Video art and projection mapping. like poetry of images and sound, the rythems come with movements. 2008 - PgD, Film Editing, FTII DOCUMENTARIES 2015 Film and Television Institute of India Edited various short to long documentaries, on the topics, situations and 2008 - 2015 ( Pune, Maharashtra, India ) people who touch me and let me explore my questions and enhance me Did PG Diploma at Film and TV school FTII, Editing faculty. -
1 Animating Poetry: Whose Line Is It Anyway?
1 ANIMATING POETRY: WHOSE LINE IS IT ANYWAY? CREATION & CRITIQUE OF SHARED LANGUAGE IN POETRY ANIMATION I am an animator who creates poetry films from historical and contemporary poetic sources. My interest is not in the literal representation of the poem, but in developing a balanced, interpretative, temporal audiovisual language that connects the viewer to the poet and the poem. In this way, the content and context of the written poem is translated, transcribed, or remodeled into a new visual and sonic experience. In order to achieve this, I first undertake detailed analysis of potential meaning and impact through close reading of the poem, as well as studying artefacts and documents relating to the poem, the poet and the subject. This immersive reading might involve the study of timing, rhythm, language construction, emotive juxtaposition, simile and metaphor, as well as consideration of cultural, geographic and historic contexts. Such detailed documentary research gives informed context to development of visual imagination. This paper will explore some aspects of my own animation practice including material from conversations with collaborators, as well as a more general investigation into creation and critique of shared language between poetry and animation. I think it is time that poetry animation should be considered as a genre or artform in its own right with the potential for communicating Ecstatic Truth. In this paper I am offering a very detailed analysis of a commissioned collaboration with the New Zealand poet Bill Manhire which we undertook in 2016 for 1418NOW, animating poetry written about the First World War, with an introductory examination of historical and contemporary examples of what may be referred to as poetry animation. -
Poetry's Afterlife: Verse in the Digital Age / Kevin Stein
POETRY'S AFTERLIFE DIgITALCULTUREBDDKS is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Poetry's Afterlife VERSE IN THE DIGITAL AGE Kevin Stein The University of Michigan Press and The University of Michigan Library ANN ARBOR Copyright © by the University of Michigan 20IO Some rights reserved This work is licensed under the Creative Commons Attribution-Noncommercial No Derivative Works 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Published in the United States of America by The University of Michigan Press and The University of Michigan Library Manufactured in the United States of America r§ Printed on acid-free paper 2013 2012 2011 2010 4 3 2 I A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Stein, Kevin, 1954- Poetry's afterlife: verse in the digital age / Kevin Stein. p. cm. - (Digitalculturebooks) ISBN 978-0-472-07099-2 (cloth: alk. paper) - ISBN 978-0-472-05099-4 (pbk.: alk. paper) I. American poetrY-21st century-History and criticism. 2. Poetry-Appreciation United States-HistorY-2Ist century. 3. Poetry-Appreciation-United States HistorY-20th century. 4. American poetrY-20th century-History and criticism. I. Title. ps326s74 2010 811.509-dc22 ISBN 978-0-472-02670-8 (e-book) For Deb, with daisies, And for Kirsten and Joseph, who question everything. -
Surviving Shakespeare: Kristian Levring's the King Is Alive
Surviving Shakespeare: Kristian Levring's The King is Alive Thomas Cartelli, Muhlenberg College Katherine Rowe, Bryn Mawr College Abstract Kristian Levring's The King Is Alive shows how rich the payoffs can be when Shakespeareans turn their attention to experimental cinema, with its strong ties to postmodern notions of text, authority, and reception. Following the strictures of the Dogme95 movement, Levring surrogates Shakespeare's story of "unaccommodated man" to a form of stripped-down, unaccommodated filmmaking. He targets King Lear as a rich site of dramatic plots, functions, and effects, which he redistributes in a postmodern version of survival narrative. A former British stage-actor memorially reconstructs Lear on the back of the Hollywood screenplays he reads for a living, then encourages his fellow survivors to rehearse the play in the abandoned mining town in the Namibian desert that is the film's mise-en-scène. As the film evolves, characters who initially approach their assigned roles without understanding or conviction begin to claim passages associated with their emerging subject positions, so that the play itself uncannily speaks through them. What does it mean to recycle a story within a culture that should already know all about it? Contemporary screen updatings of Shakespeare's plays typically avoid the problem of their long-term embeddedness in Western culture.1 It is not that these films shy away from naming the playwright in their titles, as Baz Luhrmann, Michael Radford, and others have done recently. Shakespeare's box office appeal may be small by Hollywood standards, but it has stood the test of time. -
Film As an International Art Form Subject Area/Course Number: Drama 70
Course Outline of Record Los Medanos College 2700 East Leland Road Pittsburg CA 94565 Course Title: Film as an International Art Form Subject Area/Course Number: Drama 70 New Course OR Existing Course Author(s): Josephine A. Perry and Nick Garcia Subject Area/Course No.: DRAMA-070 Units: 3 Course Title: Film as an International Art Form Discipline(s): Drama/Theater Arts, Film Studies Pre-Requisite(s): None Co-Requisite(s): None Advisories: Eligibility for English 100 Catalog Description: DRAMA-070 is a critical approach to the study of film that integrates both the technical elements of filmmaking with aesthetic and thematic elements through the exploration of various genres which may include but are not limited to suspense and mystery, science fiction/fantasy, survival and adventure, romance and comedies and/or Westerns. The th class encompasses films from the early 20 century through the present time and may include films from the Americas, Europe, Australia and/or Asia as it explores the cultural and artistic concerns of a variety of cultures as reflected in motion pictures. Related disciplines such as editing, music scoring, screenwriting, acting for the camera are also discussed in relationship to the films being studied. Schedule Description: Film is a universal language that can unite us as human beings and help us to better understand and appreciate our similarities and our differences. Take an enlightening journey through film by studying various genres of film (i.e. suspense, science fiction/ fantasy, survival and adventure, romance and comedies, Westerns and other genres) from th the early 20 century up to the present time.