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The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
(500) Days of Summer 2009
(500) Days of Summer 2009 (Sökarna) 1993 [Rec] 2007 ¡Que Viva Mexico! - Leve Mexiko 1979 <---> 1969 …And Justice for All - …och rättvisa åt alla 1979 …tick…tick…tick… - Sheriff i het stad 1970 10 - Blåst på konfekten 1979 10, 000 BC 2008 10 Rillington Place - Stryparen på Rillington Place 1971 101 Dalmatians - 101 dalmatiner 1996 12 Angry Men - 12 edsvurna män 1957 127 Hours 2010 13 Rue Madeleine 1947 1492: Conquest of Paradise - 1492 - Den stora upptäckten 1992 1900 - Novecento 1976 1941 - 1941 - ursäkta, var är Hollywood? 1979 2 Days in Paris - 2 dagar i Paris 2007 20 Million Miles to Earth - 20 miljoner mil till jorden 1957 20,000 Leagues Under the Sea - En världsomsegling under havet 1954 2001: A Space Odyssey - År 2001 - ett rymdäventyr 1968 2010 - Year We Make Contact, The - 2010 - året då vi får kontakt 1984 2012 2009 2046 2004 21 grams - 21 gram 2003 25th Hour 2002 28 Days Later - 28 dagar senare 2002 28 Weeks Later - 28 veckor senare 2007 3 Bad Men - 3 dåliga män 1926 3 Godfathers - Flykt genom öknen 1948 3 Idiots 2009 3 Men and a Baby - Tre män och en baby 1987 3:10 to Yuma 2007 3:10 to Yuma - 3:10 till Yuma 1957 300 2006 36th Chamber of Shaolin - Shaolin Master Killer - Shao Lin san shi liu fang 1978 39 Steps, The - De 39 stegen 1935 4 månader, 3 veckor och 2 dagar - 4 Months, 3 Weeks and 2 Days 2007 4: Rise of the Silver Surfer - Fantastiska fyran och silversurfaren 2007 42nd Street - 42:a gatan 1933 48 Hrs. -
Masculinity and the Structuring of the Public Domain in Kerala: a History of the Contemporary
MASCULINITY AND THE STRUCTURING OF THE PUBLIC DOMAIN IN KERALA: A HISTORY OF THE CONTEMPORARY Ph. D. Thesis submitted to MANIPAL ACADEMY OF HIGHER EDUCATION (MAHE – Deemed University) RATHEESH RADHAKRISHNAN CENTRE FOR THE STUDY OF CULTURE AND SOCIETY (Affiliated to MAHE- Deemed University) BANGALORE- 560011 JULY 2006 To my parents KM Rajalakshmy and M Radhakrishnan For the spirit of reason and freedom I was introduced to… This work is dedicated…. The object was to learn to what extent the effort to think one’s own history can free thought from what it silently thinks, so enable it to think differently. Michel Foucault. 1985/1990. The Use of Pleasure: The History of Sexuality Vol. II, trans. Robert Hurley. New York: Vintage: 9. … in order to problematise our inherited categories and perspectives on gender meanings, might not men’s experiences of gender – in relation to themselves, their bodies, to socially constructed representations, and to others (men and women) – be a potentially subversive way to begin? […]. Of course the risks are very high, namely, of being misunderstood both by the common sense of the dominant order and by a politically correct feminism. But, then, welcome to the margins! Mary E. John. 2002. “Responses”. From the Margins (February 2002): 247. The peacock has his plumes The cock his comb The lion his mane And the man his moustache. Tell me O Evolution! Is masculinity Only clothes and ornaments That in time becomes the body? PN Gopikrishnan. 2003. “Parayu Parinaamame!” (Tell me O Evolution!). Reprinted in Madiyanmarude Manifesto (Manifesto of the Lazy, 2006). Thrissur: Current Books: 78. -
BAM/PFA Program Guide
B 2012 B E N/F A J UC BERKELEY ART MUSEum & PacIFIC FILM ARCHIVE PROGRAM GUIDE AnDY WARHOL RAY JOHNSON & ROBERT WARNER RICHARD MISRACH rOBERT BRESSON hOWARD HAWKS HENRI-GEORGES CLOUZOt dOCUMENTARY VOICES aFRICAN FILM FESTIVAL GREGORY MARKOPOULOS mARK ISHAM BAM/PFA EXHIBITIONS & FILM SERIES The ReaDinG room P. 4 ANDY Warhol: PolaroiDS / MATRIX 240 P. 5 Tables OF Content: Ray Johnson anD Robert Warner Bob Box ArchiVE / MATRIX 241 P. 6 Abstract Expressionisms: PaintinGS anD DrawinGS from the collection P. 7 Himalayan PilGrimaGE: Journey to the LanD of Snows P. 8 SilKE Otto-Knapp: A liGht in the moon / MATRIX 239 P. 8 Sun WorKS P. 9 1 1991: The OAKlanD-BerKeley Fire Aftermath, PhotoGraphs by RicharD Misrach P. 9 RicharD Misrach: PhotoGraphs from the Collection State of MinD: New California Art circa 1970 P. 10 THOM FaulDers: BAMscape Henri-GeorGes ClouZot: The Cinema of Disenchantment P. 12 Film 50: History of Cinema, Film anD the Other Arts P. 14 BehinD the Scenes: The Art anD Craft of Cinema Composer MARK Isham P. 15 African film festiVal 2012 P. 16 ScreenaGers: 14th Annual Bay Area HIGH School Film anD ViDeo FestiVal P. 17 HowarD HawKS: The Measure of Man P. 18 Austere Perfectionism: The Films of Robert Bresson P. 21 Documentary Voices P. 24 SeconDS of Eternity: The Films of GreGory J. MarKopoulos P. 25 DiZZY HeiGhts: Silent Cinema anD Life in the Air P. 26 Cover GET MORE The Big Sleep, 3.13.12. See Hawks series, p. 18. Want the latest program updates and event reminders in your inbox? Sign up to receive our monthly e-newsletter, weekly film update, 1. -
This Is a Title
http://dx.doi.org/10.14236/ewic/RESOUND19.6 The Primacy of Sound in Robert Bresson’s Films Amresh Sinha School of Visual Arts 209 E 23rd St, New York, NY 10010 [email protected] Sound and Image, in ideal terms, should have equal position in the film. But somehow, sound always plays the subservient role to the image. In fact, the introduction of sound in the cinema for the purists was the end of movies and the beginning of the talkies. The purists thought that sound would be the ‘deathblow’ to the art of movies. No less revolutionary a director than Eisenstein himself viewed synchronous sound with suspicion and advocated a non-synchronous contrapuntal sound. But despite opposition, the sound pictures became the norm in 1927, after the tremendous success of The Jazz Singer. In this paper, I will discuss the work of French director Robert Bresson, whose films privilege the mode of sound over the image. Bresson’s films challenge the traditional hierarchical relationship of sight and sound, where the former’s superiority is considered indispensable. The prominence of sound is the principle strategy of subverting the imperial domain of sight, the visual, but the aural implications also provide Bresson the opportunity to lend a new dimension to the cinematographic art. The liberation of sound is the liberation of cinema from its bondage to sight. Bresson, Sound, Image, Music, Voiceover, Inner Monologue, Diegetic, Non-Diegetic. 1. INTRODUCTION considered indispensable. The prominence of sound is the principle strategy of subverting the Films are essentially made of two major imperial domain of sight, the visual, but the aural ingredients—image and sound—both independent implications also provide Bresson the opportunity to of each other. -
Metaphysics and the Moving Image Trevor Mowchun a Thesis in The
Metaphysics and the Moving Image Trevor Mowchun A Thesis In the Humanities Program For the Degree of Doctor of Philosophy (Humanities (Fine Arts)) at Concordia University July 2018 © Trevor Mowchun, 2018 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Trevor Mowchun Entitled: Metaphysics and the Moving Image and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Humanities (Fine Arts)) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Kristina Huneault External Examiner Dr. George Toles External to Program Dr. Nathan Brown Examiner Dr. Andre Furlani Examiner Dr. Justin E. H. Smith Thesis Supervisor Dr. Martin Lefebvre Approved by Dr. Erin Manning, Graduate Program Director December 10, 2018 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts iii ABSTRACT Metaphysics and the moving image Trevor Mowchun, Ph.D. Concordia University, 2018 The various forms of cross-pollination and encounter between film and philosophy have generated thought experiments which make it possible to think beyond what the two fields can do for each other to what they can do together. My guiding intuition in this thesis is that the distinct historical evolutions of film and philosophy intersect in the speculative domain of the Western metaphysical paradigm, as the film medium technologically and aesthetically reestablishes conditions for “truth” within -
The Austerity Campaign That Never Ended
Decide which new car to buy NYTimes: Home - Site Index - Archive - Help Welcome, trondsen - Member Center - Log Out Go to a Section Search: All of Movies DVD Showtimes & Tickets Search by Movie Title: The Austerity Campaign That Never Ended And/Or by ZIP Code: By TERRENCE RAFFERTY Published: July 4, 2004 T is more or less compulsory — see Page 79 of the official movie critic's handbook — to describe the works of the French filmmaker Robert Bresson as austere, which is not the sort of praise that sets off stampedes to the box office, even in France. In 1965, Susan Sontag wrote: "Bresson is now firmly labeled as an esoteric director. He has never had the attention of the art house audience that flocks to Buñuel, Bergman, Fellini — though he is a far greater director than these." And that was in his (relative) heyday: he had at that point made 6 of his 13 films, including his four best — "Les Dames du Bois de Boulogne" (1945), "The Diary of a Country Priest" (1951), "A Man Escaped" (1956) and "Pickpocket" (1959). Those pictures, it turns out, were about as audience-friendly as he ever got, and, probably, as he ever wanted to be. Now that Bresson's films are finally beginning to trickle out on DVD, a new Museum of Modern Art generation will have its chance to be daunted by this imperious, stubbornly François Leterrier as a condemned uningratiating body of work, and while I wouldn't suggest that the two most recent Frenchman in a Nazi prison in releases, "A Man Escaped" and "Lancelot of the Lake" (1974), answer to any Robert Bresson's "A Man Escaped." reasonable definition of fun, they are, if you surrender to their inexorable rhythm and the rigorous perversities of their style, utterly compelling. -
Indigenist Mobilization
INDIGENIST MOBILIZATION: ‘IDENTITY’ VERSUS ‘CLASS’ AFTER THE KERALA MODEL OF DEVELOPMENT? LUISA STEUR CEU eTD Collection PHD DISSERTATION DEPARTMENT OF SOCIOLOGY AND SOCIAL ANTHROPOLOGY CENTRAL EUROPEAN UNIVERSITY (BUDAPEST) 2011 CEU eTD Collection Cover photo: AGMS activist and Paniya workers at Aralam Farm, Kerala ( Luisa Steur, 2006) INDIGENIST MOBILIZATION: ‘IDENTITY’ VERSUS ‘CLASS’ AFTER THE KERALA MODEL OF DEVELOPMENT? by Luisa Steur Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfillment of the requirements for the degree of Doctor of Philosophy Supervisors: Professor Judit Bodnar Professor Prem Kumar Rajaram Budapest, Hungary CEU eTD Collection 2011 Statement STATEMENT I hereby state that this dissertation contains no materials accepted for any other degrees in any other institutions. The thesis contains no materials previously written and/or published by another person, except where appropriate acknowledgment is made in the form of bibliographical reference. Budapest, 2011. CEU eTD Collection Indigenist mobilization: ‘Identity’ versus ‘class’ after the Kerala model of development? i Abstract ABSTRACT This thesis analyses the recent rise of "adivasi" (indigenous/tribal) identity politics in the South Indian state of Kerala. It discusses the complex historical baggage and the political risks attached to the notion of "indigeneity" in Kerala and poses the question why despite its draw- backs, a notion of indigenous belonging came to replace the discourse of class as the primary framework through which adivasi workers now struggle for their rights. The thesis answers this question through an analysis of two inter-linked processes: firstly, the cyclical social movement dynamics of increasing disillusionment with - and distantiation from - the class-based platforms that led earlier struggles for emancipation but could not, once in government, structurally alter existing relations of power. -
LE JOLI MAI the LOVELY MONTH of MAY a Film by Chris Marker & Pierre Lhomme an Icarus Films Release │ 1963 │ France │ 145 Mins │ 1.66:1 │ B&W │ DCP
LE JOLI MAI THE LOVELY MONTH OF MAY A film by Chris Marker & Pierre Lhomme An Icarus Films Release │ 1963 │ France │ 145 mins │ 1.66:1 │ B&W │ DCP “Mr. Marker has a penetrating camera and a penetrating mind. Both are employed with a searching persistence in this film, dissecting Paris, dissecting the people who live in Paris.” —Vincent Canby, The New York Times (1966) North American Theatrical Premiere Opens Sept. 13 at Film Forum, NYC; Sept. 20 at Laemmle’s Playhouse 7 and Royal Theaters, Los Angeles; Oct. 18 at Magic Lantern’s Carlton Cinema, Toronto; Oct. 27 at the Belcourt Theatre, Nashville; Nov. 8 at the Gene Siskel Film Center, Chicago; Nov. 9 at The Cinematheque, Vancouver; Nov. 15 at Landmark’s Opera Plaza and Shattuck Cinemas, San Francisco; Nov. 21 at O Cinema and Miami Beach Cinematheque, Miami; Dec. 6 at Landmark’s Kendall Square, Boston; and more! Icarus Films │ (718) 488-8900 │ 32 Court St. 21, Brooklyn, NY 11201 │ [email protected] ABOUT THE FILM Long unavailable in the U.S. and a major work in the oeuvre of filmmaker Chris Marker (1921-2012), LE JOLI MAI was awarded the International Critics Prize at the 1963 Cannes Film Festival and the “First Work” Prize at the 1963 Venice Film Festival. It premiered in North America in September 1963 at the first New York Film Festival. This restoration of LE JOLI MAI premiered at the Cannes Film Festival on May 16, 2013, 50 years after the film first premiered there. It was created according to the wishes of Marker, supervised by the film’s cinematographer and co-director, Pierre Lhomme (b. -
Early Cinema: the Brighton Conference 25
CONTENTS Preface xxiii Introduction XXV History, Historiography, and Film History: An Advanced Introduction xxxi A Note on Format xliii PART ONE: EARLY CINEMA , 1 THE INVENTION AND EARLY YEARS OF THE CINEMA, 18 8 0 s-l 904 з THE INVENTION OF THE CINEMA 4 Preconditions fo r Motion Pictures 4 / Major Precursors o f Motion Pictures 5 / An International Process o f Invention 7 EARLY FILMMAKING AND EXHIBITION 12 The Growth o f the French Film Industry 14 / England and the “Brighton School" 17 / The United States: Competition and the Resu rgence o f Edison 19 NOTES AND QUERIES 24 Identification and Preservation o f Early Films 24 / Reviving Interest in Early Cinema: The Brighton Conference 25 REFERENCES 25 x/ CONTENTS 2 THE INTERNATIONAL EXPANSION OF THE CINEMA, 1905-1912 26 FILM PRODUCTION IN EUROPE 26 France 26 / Italy 28 / Denmark 29 / Other Countries 31 THE STRUGGLE FOR THE EXPANDING AMERICAN FILM INDUSTRY 31 The Nickelodeon Boom 31 / The Motion Picture Patents Company vs. the Independents 33 / Social Pressures and Self-Censorship 36 / The Rise o f the Feature Film 37 / The Star System 37 / The Move to Hollywood 38 FURTHER EXPLORATIONS OF FILM STYLE 39 In tertitles 40 / The Beginnings o f the Continuity System 41 / Camera Position and Acting 46 / Color 47 / Set Design and Lighting 47 / An International Style 48 NOTES AND QUERIES 49 Griffith’s Importance in the Development o f Film Style 49 REFERENCES 52 3 NATIONAL CINEMAS, HOLLYWOOD ClASSICISM , AND WORLD WAR I,19 1 3 - 1 9 1 9 53 THE AMERICAN TAKEOVER OF WORLD MARKETS 54 THE RISE OF NATIONAL -
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 = $10000 blood money DVD ITA.die.gue 12 years a slave DVD ENG.twe.mcq 20,000 days on Earth DVD ENG.twe.for 2001 : a space odyssey DVD ENG.two.kub 28 days later DVD ENG.twe.boy 2point4 children the complete series three DVD ENG.two.mar 3 godfathers DVD ENG.thr.for 45 years DVD ENG.for.hai 47 ronin DVD JAP.shi.ich 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 60s collection DVD FRE.god.god 8 women DVD FRE.hui.ozo A beautiful mind DVD ENG.bea.how A bit of Fry and Laurie the complete fourth series DVD ENG.bit.spi A bronx tale DVD ENG.bro.den A bullet for the general DVD ITA.qui.dam A Christmas tale a film by Arnaud Desplechin. -
Une Femme Douce by Robert Bresson: Hamlet Or Anti-Cinematography
Une femme douce by Robert Bresson: Hamlet or Anti-Cinematography Gaëlle GINESTET Why does a director choose to include the performance of a play in a lm? e obvious answer is because he/she has a particular fondness for the play or its author, or because it throws light on the story that he/she is telling. Who could imagine that a director would use precious time to shoot a play in order to criticize it or the way it is acted? Yet that is pre- cisely what Robert Bresson does in Une femme douce (!"#"), his ninth feature lm, the rst he shot in colour. Just a$er the opening credits, the lm starts with the suicide of a young woman who jumps from a balcony. Bresson pursues the narrative from her husband’s point of view. Standing next to her corpse, in the company of their maid, he reminisces about their rst meetings and short-lived marriage, trying to make sense of her act. Bresson chooses to show the couple at the theatre, watching the end of a performance of Hamlet , just as the rst tensions have appeared between them, the husband suspecting his wife of being unfaithful. Even if the excerpt from Hamlet is restricted to ve minutes towards the middle of Une femme douce , the play, I would suggest, irradiates the lm, since it is impossible not to notice some similarities between both works, especially between the characters of Ophelia and the “gentle woman” !. A$er exploring those thematic connexions, I shall discuss how Bresson’s idiosyncratic, aesthetic concept of “cinematography” underlies 1.