DOCSLIB.ORG

Copyright Statement This Copy of the Thesis Has Been Supplied On

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyright Statement This Copy of the Thesis Has Been Supplied On University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2014 Perceiving voids: Memory And Sight Afflictions In Contemporary Cinema Marineo, Francesco http://hdl.handle.net/10026.1/3224 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. ABSTRACT My thesis focuses on the perceptive afflictions caused by alteration of the normal biological functioning of sight and memory. These afflictions are related to the redefinition and disgregation of the classical and postclassical cinematographic characters, and affect cinematographic language, establishing a dialectical relation with the filmic image that contaminates our spectatorial perception. In the first chapter I propose a different reading of a few moments in film history, turning points in which a modification of the ordinary sensorial patterns has been introduced. From the German Expressionism to the late authorial experiments of the 60s, there is a sort of hidden history of film that passes through the continuous redefinition of the audience sensory activity. The different perspective upon broadly studied topics leads to the analysis of contemporary cinema: my thesis tries to investigate the reasons that led cinema to continually increase the representation of perceptive afflictions during the last years, and theses “affected” narratives of afflictions and dysfunctions have interesting effects upon so called “normal” perception of the reality surrounding us. The chapters 2 and 3 respectively analyze memory disorders and different dysfunctions of sight: these elements determine alterations in the ‘normal’ and ‘sensory’ perception of reality. They work as narrative factors changing the visual filmic instruments and redefining the role of the subject (and his/her uncertain definition of identity) in contemporary narratives that show how new technologies are profoundly transforming (and enhancing) the perceptive mechanisms involved in our spectatorial activity. In this work I analyze those films that are mostly committed to a clear and readable narration. My study primarily concentrates on American cinema of the last 30 years – with particular attention to popular Hollywood productions – because Hollywood has become the privileged ‘laboratory’ for the negotiation of gaze and images in the contemporary mediascape (while during the classical era experimental and avant-garde cinema were the “place” in which audience experienced the most important redefinitions of the boundaries between different types of mediated perception. PERCEIVING VOIDS: MEMORY AND SIGHT AFFLICTIONS IN CONTEMPORARY CINEMA By Francesco Paolo MARINEO A thesis submitted to the University of Plymouth in partial fulfillment for the degree of DOCTOR OF PHILOSOPHY Faculty of Arts School of Art & Media September 2012 3 Acknowledgements: I would like to thank for their support and collaboration in this research: My family Professor Antonio Caronia Professor Antonio Somaini Professor Pier Luigi Capucci Professor Derrick De Kerckhove Professor Francesco Monico All my Ph.D colleagues in the M-Node Professor Roy Ascott and all the other Planetary Collegium members The staff of University of Plymouth The staff of NABA The editor of this thesis, Richard Burket Author’s declaration: At no time during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Graduate Committee. This study was self-financed. Relevant scientific seminars and conferences were regularly attended at which work was often presented; external institutions were visited for consultation purposes and several papers prepared for publication. Presentation and Conferences Attended: 2011 - Fringe , fringe science and the evolution of human mind. the disappearance of the Self and the multiplication of realities Paper presented at the International conference “Consciousness Reframed: Presence in the Mindfield”, Centro Cultural de Belèm, Lisbon, Portugal - Sight, Blindness, Hallucination. New Boundaries of Sight in Contemporary Cinema Paper presented at the International conference “Episthemology and physiology of cinema”, University of Pisa ___ - Teacher at the seminar "Économie du cinéma", Réseau/Netzwerk Cinema-CH, University of Lugano (CH) - Teacher at the seminars Redacted e il cinema transmediale and Fisiologia del cinema contemporaneo . University IULM, Milan 2010 4 - L’illusione della testimonianza. La fotografia, il cinema, il falso Paper presented at the International conference “Forms and models. Photography as method of knowledge”, University of Messina - Noto (october) ____ - Professor at NABA- Nuova Accademia di Belle Arti Milan: Seminar Cinema and the representaion of realities (Media Design) - Teacher at the seminar Truth and fiction: hybrid narrative objects in contemporary cinema- University IULM, Milan 2009 - Non-Identified Narrative Objects Paper presented at the International Symposium “New Media Art Education & Research 2009”, FORMA, Milano ____ Professor at NABA- Nuova Accademia di Belle Arti Milan: Seminar Memory afflictions, Blindness and the Logics of Control (Media Design) 2008 - False remembering, impossible vision: déjà vu and contemporary cinema Paper presented at the International Conference “Consciousness Reframed 9 – New Realities : Being Syncretic”, University of Applied Arts, Wien, Austria - Cinema and New Media. Educational Perspectives Paper presented at the International Symposium “New Media Art Education & Research”, FORMA, Milano ____ Teacher at the seminar Cinema, War, and Torture: Redacted by Brian De Palma - - University IULM, Milan 2007 -INLAND EMPIRE and the Perception of the Forces: Against the Figuration Paper presented at the International Conference “Researching the Future: Aspects of Art and Technoethics”, Museo Pecci, Prato 2006 - Lost in Solaris Paper presented at the Simposium “L’innovazione della rappresentazione. Solaris, dal teatro-pensiero al display artistico” Teatro Litta, Milan, - Invisibile Visual Effects Paper presented at the International conference “Researching the Future: Art and Design in Transmodal Transition”, NABA Nuova Accademia Belle Arti, Milano Publications (or presentation of other forms of creative and performing work): Essays in collective works: 2012 - Pietro e gli altri in “Nella solitudine dello sguardo. Il cinema di Daniele Gaglianone”, edited by Franco Prono, Bonanno Editore 2011 - Saving Private Ryan e Titanic 5 in “Directory of World Cinema: American Hollywood”, edited by Lincoln Geraghty, Intellect Books (Bristol, UK) 2010 - Sguardo ibridato, coscienza artificiale in “Filosofie di Avatar. Immaginari, soggettività, politiche”, edited by Antonio Caronia and Antonio Tursi, Mimesis - Le città post apocalittiche in “MMX. Architettura zona critica”, edited by Marco Biraghi, Gabriella Lo Ricco and Silvia Micheli, Zandonai 2009 - False Remembering, Impossibile Vision: Déjà Vu and Contemporary Cinema in “New Realities: Being Syncretic”, edited by Ascott/Bast/Fiel/Jahrmann/Schnell, Springer Verlag, Wien / New York - Il cinema nell’era dell’intermedialità in “Drammaturgie multimediali. Media e forme narrative nell’epoca della replicabilità digitale”, edited by Gianni Canova, Unicopli - La fragile soglia: la responsabilità dello sguardo tra realtà e finzione in Redacted e Standard Operating Procedure in “Blue Lit Stage. Realtà e rappresentazione mediatica della tortura”, edited by Manolo Farci and Simona Pezzano, Mimesis 2006 - Dizionario dei registi del cinema mondiale edited by GianPiero Brunetta, Einaudi Essays in reviews and catalogues: 2010 - La sacralità del martirio. Martyrs di Pascal Laugier “Fata Morgana” n. 10, gennaio-aprile - Fenomeno Lega “Quaderni del CSCI” n.6 2009 - I corpi comici “Quaderni del CSCI” n.5 Selected articles: 2012 - Hugo Cabret. Il padrone del tempo - Duel(lanti) n. 76, aprile-maggio - Cuciture e lacerazioni. J. Edgar e Le idi di marzo - Duel(lanti) n. 75, febbraio 2011 - Jacques Rancière e lo splendore dell’insignificante - Duel(lanti) n. 74, dicembre - L’eccesso di deformità - Duel(lanti) n. 74, dicembre 6 - Il film che non è mai finito. L’11 settembre al cinema- Duel(lanti) n. 72, settembre - Morte di un fantasma. La rappresentazione mediatica della morte di Osama Bin Laden - Duel(lanti) n. 71, luglio - Dentro e oltre. The Tree of Life di Terrence Malick - Duel(lanti) n. 71, luglio - Noi siamo qui. Habemus Papam di Nanni Moretti - Duel(lanti) n. 70, maggio/giugno - Il duello dell’inimmaginabile. Strategie di premeditazione e l’apocalisse giapponese - Duel(lanti) n. 69, aprile - La vita colta alla sprovvista. Il cinema di Mike Leigh - Duel(lanti) n. 68, marzo - Il re è nudo. Berlusconi e le fotografie - Duel(lanti) n. 68, marzo (con Federica Timeto) 2010 - Gerarchie orizzontali: Fincher e The Social Network - Duel(lanti) n. 64, novembre - Ritorni e ripartenze:
Load more

Recommended publications
  • 1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
    1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company.
    [Show full text]
  • Record. Reenact. Recycle. Notes on Shindō Kaneto's Documentary Styles
    arts Article Record. Reenact. Recycle. Notes on Shindo¯ Kaneto’s Documentary Styles Lauri Kitsnik Graduate School of Human and Environmental Studies, Kyoto University, Yoshida-nihonmatsu-cho, Sakyo-ku, Kyoto 606-8501, Japan; [email protected] Received: 24 December 2018; Accepted: 15 March 2019; Published: 22 March 2019 Abstract: In his work, the filmmaker Shindo¯ Kaneto sought to employ various, often seemingly incongruous, cinematic styles that complicate the notions of fiction and documentary film. This paper first examines his ‘semi-documentary’ films that often deal with the everyday life of common people by means of an enhanced realist approach. Second, attention is paid to the fusion of documentary and drama when reenacting historical events, as well as the subsequent recycling of these images in a ‘quasi-documentary’ fashion. Finally, I uncover a trend towards ‘meta-documentary’ that takes issue with the act of filmmaking itself. I argue that Shindo’s¯ often self-referential work challenges the boundaries between fiction and non-fiction while engaging in a self-reflective criticism of cinema as a medium. Keywords: authorship; documentary film; hibakusha; Japanese cinema; Mizoguchi Kenji; non-fiction; semi-documentary; Shindo¯ Kaneto 1. Introduction An already established screenwriter, Shindo¯ Kaneto (1912–2012) spent most of the 1950s struggling to make his name as a film director. After debuting with the autobiographical Story of a Beloved Wife (Aisai monogatari, 1951), he mostly worked as an independent, with brief stints of being hired by major studios. An amalgam of melodrama and social realism that soon became a defining feature of his works puzzled critics and it was not until the experimental semi-documentary, The Naked Island (Hadaka no shima, 1960), that he was able to gain a reputation for directing.
    [Show full text]
  • Miranda, 15 | 2017, « Lolita at 60 / Staging American Bodies » [En Ligne], Mis En Ligne Le 18 Septembre 2017, Consulté Le 16 Février 2021
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 15 | 2017 Lolita at 60 / Staging American Bodies Édition électronique URL : http://journals.openedition.org/miranda/10470 DOI : 10.4000/miranda.10470 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Référence électronique Miranda, 15 | 2017, « Lolita at 60 / Staging American Bodies » [En ligne], mis en ligne le 18 septembre 2017, consulté le 16 février 2021. URL : http://journals.openedition.org/miranda/10470 ; DOI : https:// doi.org/10.4000/miranda.10470 Ce document a été généré automatiquement le 16 février 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 SOMMAIRE Les 60 ans de Lolita Introduction Marie Bouchet, Yannicke Chupin, Agnès Edel-Roy et Julie Loison-Charles Nabokov et la censure Julie Loison-Charles Lolita, le livre « impossible » ? L'histoire de sa publication française (1956-1959) dans les archives Gallimard Agnès Edel-Roy Fallait-il annoter Lolita? Suzanne Fraysse The patterning of obsessive love in Lolita and Possessed Wilson Orozco Publicités, magazines, et autres textes non littéraires dans Lolita : pour une autre poétique intertextuelle Marie Bouchet Solipsizing Martine in Le Roi des Aulnes by Michel Tournier: thematic, stylistic and intertextual similarities with Nabokov's Lolita Marjolein Corjanus Les « Variations Dolores » - 2010-2016 Nouvelles lectures-réécritures de Lolita Yannicke Chupin Staging American Bodies Staging American Bodies – Introduction Nathalie Massip Spectacle Lynching and Textual Responses Wendy Harding Bodies of War and Memory: Embodying, Framing and Staging the Korean War in the United States Thibaud Danel Singing and Painting the Body: Walt Whitman and Thomas Eakins’ Approach to Corporeality Hélène Gaillard “It’s so queer—in the next room”: Docile/ Deviant Bodies and Spatiality in Lillian Hellman’s The Children’s Hour Sarah A.
    [Show full text]
  • This Is a List of the Titles and Classmarks of the Library's DVD Collection As of November 2018 for Quick Reference. the Colle
    St John’s College Library DVD Collection This is a list of the titles and classmarks of the Library’s DVD collection as of November 2018 for quick reference. The collection can be browsed in the AV Room on the First Floor, and current availability can be found via the online catalogue. The collection is constantly being updated so for the most up to date titles, please search the online catalogue. The first section of this guide is organised alphabetically by title. The second section is organised by language/country. Title Call Number 8 1/2 DVD ITA.ott.fel 8 1/2 DVD ITA.ott.fel 36 DVD FRE.tre.mar 1871 DVD ENG.eig.mcm 1984 DVD ENG.nin.rad 2046 DVD CHI.twe.won 10 Cloverfield Lane DVD ENG.ten.tra 10 things I hate about you DVD ENG.ten.jun 1000 Dollari sul nero = Blood at Sundown DVD ITA.mil.sir 10000 dollari per un massacro = $10000 blood money DVD ITA.die.gue 12 years a slave DVD ENG.twe.mcq 20,000 days on Earth DVD ENG.twe.for 2001 : a space odyssey DVD ENG.two.kub 28 days later DVD ENG.twe.boy 2point4 children the complete series three DVD ENG.two.mar 3 godfathers DVD ENG.thr.for 45 years DVD ENG.for.hai 47 ronin DVD JAP.shi.ich 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 60s collection DVD FRE.god.god 8 women DVD FRE.hui.ozo A beautiful mind DVD ENG.bea.how A bit of Fry and Laurie the complete fourth series DVD ENG.bit.spi A bronx tale DVD ENG.bro.den A bullet for the general DVD ITA.qui.dam A Christmas tale a film by Arnaud Desplechin.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Two Masters of Japanese Cinema: Kaneto Shindo & Kozaburo Yoshimura Part
    PRESS RELEASE: May 2012 12/26 Two Masters of Japanese Cinema: Kaneto Shindo & Kozaburo Yoshimura at BFI Southbank in June and July 2012 April 2012 marks the 100th birthday of Kaneto Shindo, one of the leading talents in post-war Japanese film. Throughout June and July BFI Southbank will host a two-part retrospective which pays tribute both to Shindo himself and to his friend, colleague and contemporary Kozaburo Yoshimura (1911- 2000), one of the neglected masters of classical Japanese film. June’s programme focuses primarily on the 1950s, the period when their collaboration was closest. Yoshimura and Shindo’s work together constitute a revealing social history and include some of Japanese cinema’s most powerful and moving films. Beginning with a Season Introduction on Wed 6 June by the season’s curator Alexander Jacoby (Lecturer in Japanese Studies at Oxford Brookes University), Jacoby will explore the collaboration between Shindo and Yoshimura situating their work in the social, political and cinematic context of a rapidly changing post-war Japan. Shindo is a versatile director, skilled screenwriter and pioneer of independent production who has astonishingly remained active into very recent years, releasing his latest film, Postcard, at the age of 98. Under contract to Shochiku studios as respectively director and screenwriter, Yoshimura and Shindo initiated a fruitful collaboration with The Ball at the Anjo House (1947), a Chekhovian study of the decline of the pre-war aristocracy, which scooped the top prize in the critics’ poll conducted that year by the leading Japanese film magazine, Kinema Junpo. But both men found their creativity inhibited at Shochiku, and by the early 1950s had established their own independent production company, Kindai Eiga Kyokai.
    [Show full text]
  • Clients List May 2019
    Clients List May 2019 Directors Ross Boyask “VENGEANCE”, “WARRIORESS”, “SALVATION”, “THE MAGNIFICENT ELEVEN”, “TEN DEAD Nationality: British MEN”, “LEFT FOR DEAD”, “PURE VENGEANCE”. Countries worked in: UK Dan Clifton "PATIENT 39", "THE CALCULUS OF LOVE", "PARANORMAL WITNESS", "MANKIND: THE Nationality: British STORY OF ALL OF US", "STEVEN HAWKING'S UNIVERSE: THE KEY TO THE COSMOS", Languages: French “PARADISE LOST”, “DAYS THAT SHOOK THE WORLD”. In Development: “JOB OF A LIFETIME” (Vortex Pictures) Countries worked in: Canada, China, Europe, Morocco, South Africa, Thailand, UK, US.. Davie Fairbanks "THE WEEKEND", “LEGACY”, “THE KNOT”, “STORAGE 24”, “ABDUCTED” Nationality: British Countries worked in: Germany, Poland, UK, USA. Bryan Larkin “THE VIRTUAL NETWORK”, “PARKARMA”, “SCENE”, “MIRACLE IN SILENCE”. Nationality: British Countries worked in: Bulgaria, Canada, China, Hong Kong, Sweden, Serbia, USA Jonathan Newman "THE ADVENTURER: THE CURSE OF THE MIDAS BOX", "FOSTER", "SWINGING WITH THE Nationality: British / US Green Card FINKELS", "BEING CONSIDERED". Countries worked in: UK, US. Writers Dan Clifton "PATIENT 39", "THE CALCULUS OF LOVE", "PARANORMAL WITNESS", "STEVEN Nationality: British HAWKING'S GRAND DESIGN: KEY TO THE COSMOS". Languages: French In Development: “JOB OF A LIFETIME” (Vortex Pictures) Countries worked in: Canada, China, Europe, Morocco, South Africa, Thailand, UK, US.. Katya Jezzard "THE CHASE", "SKINS", "MISS PLACE'S AFFECTIONS", "SUGARCANE", "PARK LIFE". Nationality: British Countries worked in: UK. Bryan Larkin “DEAD
    [Show full text]
  • Diamond Guys Booklet
    ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CONTENTS 5 Voice Without a Shadow – Credits 6 Voices Behind the Shadow by Stuart Galbraith IV 15 Red Pier – Credits 16 Tough Guy, Nice Girl, Hard Choice: Red Pier by Mark Schilling 26 The Rambling Guitarist – Credits ARROW VIDEO ARROW28 North by VIDEONorthwest: The Timeless Adventures of a Rambling Guitarist by Tom Mes 38 About the Transfers ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW2 VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO VOICE WITHOUT A SHADOW Kagenaki koe Seijun Suzuki, 1958 Released 22 October 1958 CAST Yôko Minamida as Asako Hideaki Nitani as Ishikawa Nobuo Kaneko as Kawai Toshio Takahara as Kotani Shinsuke Ashida as Muraoka Jô Shishido as Hamazaki ARROW VIDEO ARROW VIDEO CREW Directed by Seijun Suzuki Produced by Kaneo Iwai Written by Ryûta Akimoto and Susumu Saji Based on the story “Voice” by Seichô Matsumoto ARROW VIDEO ARROWMusic by Hikaru HayashiVIDEO Director of Photography Kazue Nagatsuka Edited by Akira Suzuki Production Design by Takeharu Sakaguchi ARROW VIDEO ARROW5 VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO VOICES BEHIND THE SHADOW by Stuart Galbraith IV Unique among his generation of Japanese filmmakers, Seijun Suzuki (b.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. 8710047 Sayre, Robert Duane THE EVOLUTION OF EARLY AMERICAN ABOLITIONISM: THE AMERICAN CONVENTION FOR PROMOTING THE ABOLITION OF SLAVERY AND IMPROVING THE CONDITION OF THE AFRICAN RACE, 1794-1837 The Ohio State University Ph.D. 1987 University Microfilms I nternStiOnel SOO N. Z eeb Road, Ann Arbor, Ml 48106 Copyright 1987 by Sayre, Robert Duane All Rights Reserved IHE EVOLUTION OF EARLY AMERICAN ABOLITIONISM: THE AMERICAN CONVENTION FOR PROMOTING THE ABOLITION OF SLAVERY AND IMPROVING THE CONDITION OF THE AFRICAN RACE, 1794-1837 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Robert Duane Sayre, A.B., M.Div.
    [Show full text]
  • Developments in the Japanese Documentary Mode • Marcos Centeno and Michael Raine Developments in the Japanese Documentary Mode
    Developments in the Japanese Documentary Mode • Marcos Centeno • Marcos and Michael Raine Developments in the Japanese Documentary Mode Edited by Marcos Centeno and Michael Raine Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Developments in the Japanese Documentary Mode Developments in the Japanese Documentary Mode Editors Marcos Centeno Michael Raine MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Editors Marcos Centeno Michael Raine Department of Cultures and Film Studies Program, Languages, Birkbeck, Western University University of London Canada UK Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Arts (ISSN 2076-0752) (available at: https://www.mdpi.com/journal/arts/special issues/developments japanese documentary mode). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Volume Number, Page Range. ISBN 978-3-03943-913-3 (Hbk) ISBN 978-3-03943-914-0 (PDF) Cover image courtesy of Komura Shizuo. © 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND.
    [Show full text]
  • The Poetics and Politics of the Naked Island
    AC 29 (2) pp. 261–273 Intellect Limited 2018 Asian Cinema Volume 29 Number 2 © 2018 Intellect Ltd Article. English language. doi: 10.1386/ac.29.2.261_1 Lauri KitsniK Kyoto University real and slow: the poetics and politics of The Naked Island abstract Keywords A seminal film that presaged the 1960s boom of independent cinema in Japan, film festivals Shindo¯ Kaneto’s The Naked Island (1960) also marked its director’s breakthrough independent film to the international market. This article examines how the film’s depiction of primi- Japanese cinema tive agrarian life, particularly the ‘authentic’ labouring bodies, relates to the notions neorealism of neorealism and ‘slow cinema’. Tracing its international influences, a comparison Shindo¯ Kaneto to Flaherty’s Man of Aran (1934) reveals how ‘poetical licence’ is an integral part slow cinema of documentary film with ethnographical aspirations. Working outside the restrictive nature of the Japanese studio system, The Naked Island consolidated the direc- tor’s stripped-down and self-sufficient methods of independent filmmaking. After winning the Grand Prize at the Moscow International Film Festival, it also brought him a considerable following amidst the geopolitical tensions of the Cold War. 裸の島 (The Naked Island) (1960) written and directed by Shindo¯ Kaneto 新藤兼人 (1912–2012), an experimental independent film without dialogue, has the reputation of having saved its director’s career from abruptly ending. It is also one of those films perhaps better known outside of Japan, after having initially succeeded in the international festival circuit. The present 261 07_AC_29.2_Kitsnik_261-273.indd 261 11/6/18 2:16 PM Lauri Kitsnik 1.
    [Show full text]
  • The USDA Forest Service— the First Century
    United States Department of Agriculture • Forest Service The USDA Forest Service— The First Century ss ss ss s s s s s s s s s s s CENTENNIAL s s s s COMMEMORATIVE s s EDITION s s s s 1905-2005 s s s s s s s s s s THE USDA FOREST SERVICE — THE FIRST CENTURY by Gerald W. Williams, Ph.D. Historical Analyst Slightly revised April 2005 FS-650 USDA Forest Service Office of Communication Washington, DC The U.S. Department of Agriculture (USDA) prohibits discrimination in all its programs and activi- ties on the basis of race, color, national origin, sex, religion, age, disability, political beliefs, sexual orientation, or marital or family status. (Not all prohibited bases apply to all programs.) Persons with disabilities who require alternative means for communication of program information (Braille, large print, audiotape, etc.) should contact USDA’s TARGET Center at (202) 720-2600 (voice and TDD). To file a complaint of discrimination, write USDA, Director, Office of Civil Rights, Room 326-W, Whitten Building, 1400 Independence Avenue, SW, Washington, D.C. 20250-9410 or call (202) 720-5964 (voice and TDD). USDA is an equal opportunity provider and employer. Table of Contents Introduction ........................................................................................................1 The Beginning Era of Concern About Natural Resources, 1873-1905 .................2 The Visionaries ...........................................................................................3 Federal Involvement in Forestry .................................................................5
    [Show full text]