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Scandinavian Cinema from the Silent Era Prof
© Lynn R. Wilkinson UGS302 (64115): Nordic Light: Scandinavian Cinema from the Silent Era Prof. Lynn Wilkinson to the 2000s COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Including films from Sweden, Denmark, and Iceland, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (20%); one storyboard (10%) accompanied by a five-page essay (20%); five quizzes (20%; you may drop the lowest grade); one class presentation (5%). Class participation will count 20%. REQUIRED TEXTS: Bordwell and Thompson: Film Art: An Introduction. 10th edition (2009) McGraw Hill: ISBN 10: 0073386162 Earlier editions on reserve: PN 1995 B617 2004 TEXT; PN1995 B617 2001 TEXT Recommended: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10: 0415081955 On Reserve: PN 1993.5 s2 s65 1998; also available as an electronic resource Braudy and Cohen: Film Theory and Criticism. 6th edition (FTC on syllabus) Oxford Univ. Press: ISBN 10 0195158172 On reserve: PN 1994 M364 2004 Mette Hjort: Purity and Provocation: Dogme 95 British Film Institute On reserve: PN1995.9 E96 P87 2003 Mette Hjort: Italian for Beginners University of Washington Press, 2010 PN 1997 I51555 H56 2010 Björn Norðfjörð: Dagur Kári’s Nói the Albino University of Washington -
TODD BERLINER Department of Film Studies (910)
CURRICULUM VITAE TODD BERLINER Department of Film Studies (910) 962-3336 University of North Carolina Wilmington [email protected] 601 South College Road www.uncw.edu/toddberliner Wilmington, NC 28403-5950 CURRENT POSITION Professor, Department of Film Studies, University of North Carolina Wilmington. EDUCATION Ph.D. English, University of California at Berkeley, 1996. Dissertation: When Movies Grew Up: Hollywood Films of the 1970s B.A. Psychology and English, University of California at Berkeley, 1986; Highest Distinction in General Scholarship (summa cum laude); Phi Beta Kappa. FIELDS OF SPECIALIZATION Film aesthetics, style, and storytelling; entertainment cinema; American film history; Hollywood cinema; American independent cinema; American films of the 1970s. TEACHING Professor, Department of Film Studies, Univ. of North Carolina Wilmington, 2010-present. László Országh Chair in American Studies, Fulbright Scholars Distinguished Chair Award, Eötvös Loránd University, Budapest, Hungary, Spring 2012. Associate Professor, Department of Film Studies, UNCW, 2002-2010. Fulbright Professor, Hanoi University of Theater and Cinema, Fulbright Scholars Award, Vietnam, 2005-2006. Assistant Professor, Department of English, UNCW, 1996-2002. Selected Courses: American Cinema 1927-1960 Film Authors: Martin Scorsese American Cinema of the 1970s Film Styles & Genres: Film Noir American Cinema Since 1961 Film Styles & Genres: Hollywood Style Approaches to Film Aesthetics Hollywood Aesthetics The Cinematic Mind: Cognition and Film Introduction to Film Study Cognitive and Neoformalist Film Theories Storytelling in the Cinema Concepts in Film Theater and Cinema Film Authors: John Cassavetes Writing about Film ADMINISTRATION Associate Chair, Department of Film Studies, University of North Carolina Wilmington, 2014-2016. Department Chair and Founder, Department of Film Studies, University of North Carolina Wilmington, 2002-2005. -
Kevin Jerome Everson Artist/Filmmaker Professor of Art/University of Virginia Mcintire Dept of Art
Kevin Jerome Everson Artist/Filmmaker Professor of Art/University of Virginia McIntire Dept of Art Born 1965, Mansfield, Ohio USA Education: 1990 MFA, Ohio University, Athens, OH 1987 BFA, University of Akron, Akron, OH Awards and Fellowships 2011 Virginia Museum Fine Arts Professional Fellowship 2010-2011 2010 Erie, Best International Film, Images Film Festival, Toronto, Ontario Erie, Best Long Form Work, Migrating Forms, New York, New York Mid Atlantic-Grant (2009/10) in association with Hallwalls Contemporary Art Center, Buffalo NY residency/project 2005 Best Documentary Film, Spicebush, New York Underground Film Festival 2002 Jules Guerin /Metropolitan Museum of Art–Jacob H. Lazarus Rome Prize Fellowship at the American Academy, Rome Outstanding Alumnus, Ohio University College of Arts and Sciences 2001 Creative Capital Media Arts Fellowship 1996 John Simon Guggenheim Memorial Fellowship, photography 1995 Arts Midwest National Endowment of the Arts Regional Visual Artist Fellowship, photography Ohio Arts Council Individual Artist Fellowship, photography DVDs Broad Day and Other Times: Works by Kevin Jerome Everson, Video Data Bank, Chicago, Illinois, 2011 Solo Exhibitions and Solo Screenings 2012 Retrospective, Cinema du Reel in Nyon, Switzerland Chevelle, The Box, The Wexner Center of the Arts, Columbus, Ohio 2011 More Than That, Whitney Museum of American Art, New York, New York Quality Control, Views From the Avant-Garde, New York Film Festival, Lincoln Center, New York City Quality Control, International Film Festival Rotterdam, -
Tonite the 6 Annual Queens World Film Festival Screens 30 Films And
FOR IMMEDIATE RELEASE: Media Contact : David Archer, DA Associates PR, 914-299 0837 www.queensworldfilmfestival.com Tonite the 6th Annual Queens World Film Festival Screens 30 films and Honors Filmmaker Melvin Van Peebles with the "Spirit of Queens" Award March 16th, 2016, New York, NY -- Each year, the Queens World Film Festival (QWFF) pays tribute to an outstanding filmmaker for his or her body of work. This year's "Spirit of Queens" Award goes to independent film director Melvin Van Peebles. Peebles is an American actor, director, screenwriter, playwright, novelist, painter and composer. Successful in every medium, Van Peebles is most famous for his movie Sweet Sweetback's Baadasssss Song , which heralded a new era of African-American cinema. It will be screened this evening Wednesday, March 16- 7pm at the Museum of the Moving Image (MOMI) in Astoria ,Queens, followed by a Q&A with the legendary Mr. Peebles, moderated by MoMI trustee Warrington Hudlin, founder of the Black Filmmaker Foundation. Twenty-nine other films will be screened this evening as well at the 3 other venues. Full Festival passes and Individual Tickets are on sale on line. For the full schedule and to view trailers please visit: www.queensworldfilmfestival.com To highlight the IndieCollect film preservation campaign, Susan Seidelman's 1982 movie, Smithereens, will be showcased at MoMI on Closing Night, Saturday, March 19. The Smithereens negative was found by the IndieCollect team in the vaults of DuArt Film & Video after DuArt closed its photo-chemical division, and was placed at the Academy Film Archive for safekeeping. IndieCollect, headed by QWFF board member Sandra Schulberg, is dedicated to saving independent films before they are lost due to neglect, lack of funding and/or faulty preservation strategies. -
FIAF Supporters Partnership Programme
FIAF Supporters Partnership Programme Exhibitors’ stands at the FIAF Congresses in Beijing (2012), Barcelona (2013), Skopje (2014) & Sydney (2015) WHAT IS FIAF? FIAF, the International Federation of Film Archives, brings together the world's leading film heritage institutions. Its affiliates are dedicated to the rescue, collection, preservation and screening of moving images, which are valued both as works of art and culture and as historical documents. When it was founded in 1938, FIAF had 4 members. Today it comprises 172 institutions in 80 countries - a reflection of the extent to which preservation of moving image heritage has become a world-wide concern. FIAF'S AIMS to uphold a code of ethics for film preservation and practical standards for all areas of film archive work; to promote the creation of moving image archives in countries which lack them; to seek the improvement of the legal context within which film archives carry out their work; to promote film culture and facilitate historical research on both a national and international level; to foster training and expertise in preservation and other archive techniques; to ensure the permanent availability of material from the collections for study and research by the wider community; to encourage the collection and preservation of documents and materials relating to the cinema; to develop cooperation between affiliates to ensure the international availability of films and documents. FIAF’S AFFILIATES There are two types of FIAF affiliates: FIAF Members are film archives and cinematheques which are actively engaged in film preservation activities and fully committed to the ideals described earlier. Current Members reflect a wide range of non-profit institutions, including government archives, independent foundations and trusts, self-contained cinematheques, museums and university departments. -
Home Video Philology: Methodological Reflections
Special – peer-reviewed Cinergie – Il cinema e le altre arti. N.13 (2018) https://doi.org/10.6092/issn.2280-9481/7878 ISSN 2280-9481 Home Video Philology: Methodological Reflections Valerio Sbravatti Submitted: March 1, 2018 – Revised version: May 25, 2018 Accepted: June 15, 2018 – Published: July 12, 2018 Abstract Digital home video is an extremely useful means of watching and analyzing films. However, scholars often neglect the fact that official home video or streaming releases of a film can have differences from theoriginal version of the film itself. Such variances typically are lack of film grain (resulting from digital noise reduction), differences in color grading, and soundtrack remixing. This can depend on the fact that the technicians who work on home video releases are unprepared, or are instructed to adjust the look and the sound of the film to the current taste, or because the filmmakers changed their mind and requested some modifications. Atany rate, film scholars must be aware of such possible inconsistencies, otherwise their study could be fallacious. In this article I discuss upon philological problems of home video releases mainly from a practical point of view. Keywords: Blu-ray Disc; DVD; film fandom; film philology; film restoration. Valerio Sbravatti: Sapienza Università di Roma (It) https://orcid.org/0000-0002-0817-6129 [email protected] Valerio Sbravatti (1988) has a PhD in Music and performing arts at Sapienza University of Rome, where he is honorary fellow in film studies. His main research interests are film sound and film music, on which he published somearticlesand a book (Allegro non troppo. -
To Be Young, Queer and Chinese
FILM AT REDCAT PRESENTS Mon Nov 30 | 8:00 PM | ONLINE Jack H. Skirball Series $10 [members $8] To get tickets, visit: To Be Young, Queer and Chinese To Be Young, Queer and Chinese Program curated by Jenny Man Wu, with Popo Fan and Yang Yang Presented in collaboration with Love Queer Cinema Week (former Beijing Queer Film Festival, BJQFF) Love Queer Cinema Week was funded in 2001 by university students as the first LGBTQ film festival in mainland China – where it remains one of the few grassroots events involved in independent queer film screenings and cultural exchange, providing a platform for sexual and other minorities worldwide. It has hosted international guests and offered travel grants to young Chinese participants. It has created ties with queer film festivals/events in Brazil, Belgium, Italy and Denmark, and the Berlinale Teddy Awards. Often harassed by the authorities and forced to change locations, it has survived as a site of resistance for social, cultural and artistic fluidity. Three festival organizers will hold a panel discussion on the evolution of queer media in China. Also: screening of Popo Fan’s The Drum Tower (Gu Lou Xi, 2019) and Yang Yang’s Our Story - 10-year "Guerrilla Warfare" of Beijing Queer Film Festival (Wo men de gu shi, 2011) In person via Zoom from Beijing and Berlin: Director on Duty Jenny Man Wu (rotating position), Committee Members Yang Yang and Popo Fan “… what made the BJQFF screening among the most moving and memorable experiences we’ve had on the festival circuit was the realization that it was more than an entertainment, it was a statement. -
Uw Cinematheque Announces Fall 2012 Screening Calendar
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE AUGUST 16, 2012 UW CINEMATHEQUE ANNOUNCES FALL 2012 SCREENING CALENDAR PACKED LINEUP INCLUDES ANTI-WESTERNS, ITALIAN CLASSICS, PRESTON STURGES SCREENPLAYS, FILMS DIRECTED BY ALEXSEI GUERMAN, KENJI MISUMI, & CHARLES CHAPLIN AND MORE Hot on the heels of our enormously popular summer offerings, the UW Cinematheque is back with the most jam-packed season of screenings ever offered for the fall. Director and cinephile Peter Bogdanovich (who almost made an early version of Lonesome Dove during the era of the revisionist Western) writes that “There are no ‘old’ movies—only movies you have already seen and ones you haven't.” With all that in mind, our Fall 2012 selections presented at 4070 Vilas Hall, the Chazen Museum of Art, and the Marquee Theater at Union South offer a moveable feast of outstanding international movies from the silent era to the present, some you may have seen and some you probably haven’t. Retrospective series include five classic “Anti-Westerns” from the late 1960s and early 70s; the complete features of Russian master Aleksei Guerman; action epics and contemplative dramas from Japanese filmmaker Kenji Misumi; a breathtaking survey of Italian Masterworks from the neorealist era to the early 1970s; Depression Era comedies and dramas with scripts by the renowned Preston Sturges; and three silent comedy classics directed by and starring Charles Chaplin. Other Special Presentations include a screening of Yasujiro Ozu’s Dragnet Girl with live piano accompaniment and an in-person visit from veteran film and television director Tim Hunter, who will present one of his favorite films, Tsui Hark’s Shanghai Blues and a screening of his own acclaimed youth film, River’s Edge. -
Formation of International Federation of Film Archives 1938
I TIGHT BINDING The Museum of Modern Art Please reply to: The Film Library, 485 Madison Avenue, New York, N. Y. Director, John E. Abbott Curator, Iris Barry Telephone PLaza 3-1981 Cable Address: Modernart Goodyear lutdenti Whitney fresident: October 25th, 1938 Lewisohn Boekefeller TO City Editors Motion Picture Editors N. Bliss News Photo Editors Woods Biles I. Clark Hurray Crane Dear Sirs: Duveen of Millbank Field You are invited to come or send a representative ford to: odwln .Paley The Projection Room of the 1M S. Payson Museum of Modern Art Film Library ley Res or Room 502, Grand Central Palace D. Rockefeller, Jr. 125 East 46th Street, New York Rami eh. Thursday afternoon, October 27th, I S. Sheppard at four o'olook, I. M. Warburg when John Hay Whitney, President of the Museum of Modern Art Film Library, will sign the Charter of the International •Burr, Jr. Federation of Film Archives, thus completing and the oo-operative agreement between The Director r Cinematheque Francaise, Paris; The National Wraoy Mabry, Jr. Film Library, London; The Reichsfilmarchiv, irUm Library i Berlin; and The Museum of Modern Art Film bolt Library, New York. A brief program of films of the '90's and Committee Library early 1900's will be shown, inoluding "Funeral of Queen Victoria" and Hliuey "Up Fifth Avenue in a Hansom Cab." Refreshments will be served. 6uodyear >l. Warburg At the conference Thursday the purposes and plans of the International Federation will be given as well as details of its formation. Sinoerely yours, THE MUSEUM OF MODERN ART 14 WEST -
History and Ethics of Film Restoration by Jeffrey Lauber a Thesis
History and Ethics of Film Restoration by Jeffrey Lauber A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Moving Image Archiving and Preservation Program Department of Cinema Studies New York University May 2019 ii ABSTRACT Film restoration and its products have been subjects of scrutiny and debate since the dawn of the practice. The process inherently bears an innumerable quantity of unresolvable uncertainties, a characteristic which has sparked discussions amongst archivists, restorers, scholars, critics, and audiences alike about the ethical implications of restoring motion pictures. This thesis contends that it would be both impractical and unproductive to impose a rigid set of ethical principles on a practice which so inevitably relies on subjectivity. Instead, it devises a more holistic understanding of film restoration practice and ethics to work towards a conceptual framework for film restoration ethics. Drawing from theoretical discourse and real-world case studies, this thesis examines the ways in which restorers have confronted and mitigated uncertainties in their work, and explores the ethical implications of their decisions. As an understanding of the philosophical and economic motivations behind film restoration provides essential foundational knowledge for understanding the evolution of its ethical discourse, the thesis begins by charting a contextual history of the practice before exploring the discourse and its core ethical concerns. iii TABLE OF CONTENTS Acknowledgements -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
Grey Morality of the Colonized Subject in Postwar Japanese Cinema and Contemporary Manga
EITHER 'SHINING WHITE OR BLACKEST BLACK': GREY MORALITY OF THE COLONIZED SUBJECT IN POSTWAR JAPANESE CINEMA AND CONTEMPORARY MANGA Elena M. Aponte A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Khani Begum, Advisor Kristen Rudisill © 2017 Elena M. Aponte All Rights Reserved iii ABSTRACT Khani Begum, Advisor The cultural and political relationship between Japan and the United States is often praised for its equity, collaboration, and mutual respect. To many, the alliance between Japan and the United States serves as a testament for overcoming a violent and antagonistic past. However, the impact of the United States occupation and the bombing of Hiroshima and Nagasaki is rarely discussed in light of this alliance. The economic revival, while important to Japan’s reentry into the global market, inevitably obscured continuing paternalistic interactions between Japan and the United States. Using postcolonial theory from Homi K. Bhahba, Frantz Fanon, and Hiroshi Yoshioka as a foundation, this study examines the ways Japan was colonized during and after the seven-year occupation by the United States. The following is a close assessment of two texts and their political significance at two specific points in history. Akira Kurosawa's1948 noir film Drunken Angel (Yoidore Tenshi) shaped the identity of postwar Japan; Yasuhiro Nightow’s Trigun manga series navigates cultural amnesia and American exceptionalism during the 1990s after the Bubble Economy fell into recession in 1995. These texts are worthy of simultaneous assessment because of the ways they incorporate American archetypes, iconography, and themes into their work while still adhering to Japanese cultural concerns.