Can We Tell the Truth About the Future? a Critical Analysis of an Experience in the Docufictional Construction of Truth
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Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
Documentary Filming Process
Documentary Filming Process The process of planning an investigation using documentary film as research incorporates traditional methods used in qualitative investigations to collect and analyze data. The documentary filming process involves all the essential elements of a qualitative investigation namely: 1)site selection – where to film, how to position the camera and microphone; 2) participant selection- who to film and obtaining consent using a consent form or media release form; 3) data collection - recording audio and video using equipment, designing protocols for interviews and observations during filming; 4) data analysis - reviewing and selecting video and audio clips during editing; 5) findings, discussion and recommendations-making meaning of the video clips and context by sequencing selected clips, adding other audio visual elements; and finally, 6) sharing results-disseminating the results through documentary film. Camera setup An important consideration for filming is determining if the filming location will be outdoors or indoors. Filming outdoors will require taking into consideration the need for lighting and determine what times the footage can be gathered. Outdoors filming is also used when the local context needs to be captured on camera. The next consideration is the camera setup. Use of a tripod helps avoid unnecessary movement except in cases where a larger area has to be spanned to show the local environment and context. The researcher also needs to make a decision on the positioning of the camera. Video shots can be taken with the camera pointed at the participant with the researcher filming from behind the camera or taken from other angles. The decision is based both on the aesthetic sensibilities of the researcher as well as what the focus of research is. -
Stan Brakhage
DAVID E. JAMES Introduction Stan Brakhage The Activity of His Nature Milton produced Paradise Lost for the same reason that a silk worm produces silk. It was an activity of his nature.—KARL MARX ork on this collection of texts began some three years ago, when we hoped to publish it in 2003 to celebrate Stan Brakhage’s Wseventieth birthday. Instead, belatedly, it mourns his death. The baby who would become James Stanley Brakhage was born on 14 January 1933 in an orphanage in Kansas City, Missouri.1 He was adopted and named by a young couple, Ludwig, a college teacher of business, and his wife, Clara, who had herself been raised by a stepmother. The family moved from town to town in the Middle West and, sensitive to the stresses of his parents’ unhappy marriage, Stanley was a sickly child, asthmatic and over- weight. His mother took a lover, eventually leaving her husband, who sub- sequently came to terms with his homosexuality and also himself took a lover. In 1941, mother and son found themselves alone in Denver. Put in a boys’ home, the child picked up the habits of a petty criminal, but before his delinquency became serious, he was placed with a stable, middle-class family in which he began to discover his gifts. He excelled in writing and dramatics and in singing, becoming one of the leading voices in the choir of the Cathedral of St. John’s in Denver. Retrieving her now-teenaged son, his mother tried to make a musician of him, but Stanley resisted his tutors, even attempting to strangle his voice teacher. -
Strategic Stories: an Analysis of the Profile Genre Amy Jessee Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2009 Strategic Stories: An Analysis of the Profile Genre Amy Jessee Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Mass Communication Commons Recommended Citation Jessee, Amy, "Strategic Stories: An Analysis of the Profile Genre" (2009). All Theses. 550. https://tigerprints.clemson.edu/all_theses/550 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. STRATEGIC STORIES: AN ANALYSIS OF THE PROFILE GENRE A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Amy Katherine Jessee May 2009 Accepted by: Dr. Sean Williams, Committee Chair Dr. Susan Hilligoss Dr. Mihaela Vorvoreanu ABSTRACT This case study examined the form and function of student profiles published on five university websites. This emergent form of the profile stems from antecedents in journalism, biography, and art, while adapting to a new rhetorical situation: the marketization of university discourse. Through this theoretical framework, universities market their products and services to their consumer, the student, and stories of current students realize and reveal a shift in discursive practices that changes the way we view universities. A genre analysis of 15 profiles demonstrates how their visual patterns and obligatory move structure create a cohesive narrative and two characters. They strategically show features of a successful student fitting with the institutional values and sketch an outline of the institutional identity. -
Kaiju-Rising-II-Reign-Of-Monsters Preview.Pdf
KAIJU RISING II: Reign of Monsters Outland Entertainment | www.outlandentertainment.com Founder/Creative Director: Jeremy D. Mohler Editor-in-Chief: Alana Joli Abbott Publisher: Melanie R. Meadors Senior Editor: Gwendolyn Nix “Te Ghost in the Machine” © 2018 Jonathan Green “Winter Moon and the Sun Bringer” © 2018 Kane Gilmour “Rancho Nido” © 2018 Guadalupe Garcia McCall “Te Dive” © 2018 Mari Murdock “What Everyone Knows” © 2018 Seanan McGuire “Te Kaiju Counters” © 2018 ML Brennan “Formula 287-f” © 2018 Dan Wells “Titans and Heroes” © 2018 Nick Cole “Te Hunt, Concluded” © 2018 Cullen Bunn “Te Devil in the Details” © 2018 Sabrina Vourvoulias “Morituri” © 2018 Melanie R. Meadors “Maui’s Hook” © 2018 Lee Murray “Soledad” © 2018 Steve Diamond “When a Kaiju Falls in Love” © 2018 Zin E. Rocklyn “ROGUE 57: Home Sweet Home” © 2018 Jeremy Robinson “Te Genius Prize” © 2018 Marie Brennan Te characters and events portrayed in this book are fctitious or fctitious recreations of actual historical persons. Any similarity to real persons, living or dead, is coincidental and not intended by the authors unless otherwise specifed. Tis book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Published by Outland Entertainment 5601 NW 25th Street Topeka KS, 66618 Paperback: 978-1-947659-30-8 EPUB: 978-1-947659-31-5 MOBI: 978-1-947659-32-2 PDF-Merchant: 978-1-947659-33-9 Worldwide Rights Created in the United States of America Editor: N.X. Sharps & Alana Abbott Cover Illustration: Tan Ho Sim Interior Illustrations: Frankie B. -
Towards a Fifth Cinema
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sussex Research Online Towards a fifth cinema Article (Accepted Version) Kaur, Raminder and Grassilli, Mariagiulia (2019) Towards a fifth cinema. Third Text, 33 (1). pp. 1- 25. ISSN 0952-8822 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/80318/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Towards a Fifth Cinema Raminder Kaur and Mariagiulia Grassilli Third Text article, 2018 INSERT FIGURE 1 at start of article I met a wonderful Nigerian Ph.D. -
The Rhetorical Significance of Gojira
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph. -
Maurice Proulx
01/10/13 The Clergy and the Origins of Quebec Cinema The Clergy and the Origins of Quebec Cinema: Fathers Albert Tessier and Maurice Proulx par Poirier, Christian A handful of priests were among the first people in Quebec to use a movie camera. They were also among the first to grasp the cultural significance of cinema. Two individuals are particularly significant in this regard: Fathers Albert Tessier and Maurice Proulx. Today they are widely recognized as pioneers of Quebec cinema arts. Since 2000, Quebec cinema has been experiencing renewed popularity. Nevertheless, the key role played by the clergy in the development of a cinematographic and cultural tradition before the Quiet Revolution of the 1960s has not been fully appreciated, even though they managed nothing less than a collective heritage acquisition of cinema during a period dominated by foreign productions. After initially opposing the cinema-considering it an "imported" invention capable of corrupting French-Canadian youth- the clergy gradually began to promote the showing of movies in parish halls, church basements, schools, colleges and convents. It came to see film as yet another tool for conveying Catholic values. Article disponible en français : Clergé et patrimoine cinématographique québécois : les prêtres Albert Tessier et Maurice Proulx A Society on the Threshold between the Traditional Past and the Modern World During the first half of the 20th century, Quebec society underwent a process of gradual change: it became more industrialized, urbanized and economically diverse, while modern ideas such as liberalism or secularism increasingly became accepted as credible alternatives. Nevertheless, for the political and intellectual elite, the values associated with traditions, Catholicism, and rural life were still the of the French-Canadian people's identity. -
Truth in Cinema
Truth in Cinema http://web.mit.edu/candis/www/callison_truth_cinema.htm Truth in Cinema Comparing Direct Cinema and Cinema Verité Candis Callison Documenting Culture, CMS 917 November 14, 2000 Like most forms of art and media, film reflects the eternal human search for truth. Dziga Vertov was perhaps the first to fully articulate this search in “Man with a Movie Camera.” Many years later he was finally followed by the likes of Jean Rouch, Richard Leacock and Fred Wiseman who, though more provocative and technologically advanced, sought to bring reality and truth to film. Edgar Morin describes it best when, in reference to The Chronicle of a Summer , he said he was trying to get past the “Sunday best” portrayed on newscasts to capture the “authenticity of life as it is lived” 1. Both direct cinema and cinema verité hold this principle in common – as I see it, the proponents of each were trying to lift the veneer that existed between audience and subject or actor. In a mediated space like film, the veneer may never completely vanish, but new techniques such as taking the camera off the tripod, using sync sound that allowed people to speak and be heard, and engaging tools of inquiry despite controversy were and remain giant leaps forward in the quest for filmic truth. Though much about these movements grew directly out of technological developments, they also grew out of the social changes that were taking place in the 1960s. According to documentary historian Erik Barnouw, both direct cinema and cinema verité had a distinct democratizing effect by putting real people in front of the camera and revealing aspects of life never before captured on film. -
PAF 2015 ENG.Indd
14th Festival of Film Animation 3–6 12 2015 Olomouc www.pifpaf.cz Catalogue PAF 2015 Acknowledgement: www.pifpaf.cz Danniela Arriado, Jiří Bartoník, Jana Bébarová, Petr Bilík, Petr Bielesz, Martin Blažíček, Michal Blažíček, Authors: Martin Búřil, Filip Cenek, Eva Červenková, Martin Čihák, Alexander Campaz, Martin Čihák, Eliška Děcká, David Katarína Gatialová, Marie Geierová, Vladimír Havlík, Helán, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Tamara Hegerová, Štěpánka Ištvánková, Jana Jedličková, Nela Klajbanová, Martin Mazanec, Marie Meixnerová, Alexandr Jeništa, Anna Jílková, Lucie Klevarová, Jiří Neděla, Jonatán Pastirčák,Tomáš Pospiszyl, Jakub Korda, Jana Koulová, Petr Krátký, Zdeňka Krpálková, Pavel Ryška, Matěj Strnad, Lenka Střeláková, Josef Kuba, Jiří Lach, Richard Loskot, Ondřej Molnár, Barbora Trnková, Veronika Zýková Hana Myslivečková, NAMU, Lenka Petráňová, Jan Piskač, Mari Rossavik, Radim Schubert, Kateřina Skočdopolová, Translators: Matěj Strnad, Barbora Ševčíková, Jan Šrámek, Petr Vlček, Magda Bělková, Nikola Dřímalová, Helena Fikerová, Kateřina Vojkůvková, FAMU Center for Audiovisual Studies, Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Café Tungsram and Ondřej Pilát, Zuzana Řezníčková, Samuel Liška, Marie Meixnerová, Michaela Štaffová Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Editor: Studies at the Faculty of Arts of Palacký University Olomouc, Veronika Zýková The One Minutes, The University of J. E. Purkyně Czech proofreading: Festival -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time.