DOCSLIB.ORG

First Chapter in `His Section Offers Practical Suggestions About

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
First Chapter in `His Section Offers Practical Suggestions About DOCOMINT Uhl It ID 170 773 CS 2C026 AUTHOR poster, d M. TITLE; The NeW Lit eracy: The la ngu Film and Television. INSTITUTION National Council of Teschers EnglishUrbana, T11. PUB DAV: 74 NOTE 70p. AVAILABLE PP° NationaCouncil, of Teachers of English,1111 _nyon Road, ens,t ilinoie 61801 (Stock No.3339, $2.50 m ember -2.75 non-me mber) mF01/PC03 Plus Posta o . ED PRICE s: BE rPTOPS Communication Skills;*Englishinstrucion; *F *film Study; Popular culture; Secondar?Inca ; *Teaching Techniques; *television; *ViUal Literady ABSTRACT book is intendsd as an aid for high school. English tea: hA rs who want to un lerstand v isual literacy and learnhow to teach it. 'The first par-f the bock defines and analyzesthe basic structural devicesU e1 i3filmmaking. The first chapter in this section discusses how the creativeuse of these devices -- composition, lighting andcolor, movementediting, sound, and rhythminfluences people andmanipulates their responses. r 1.o of the motion picture mediumin second chapter analyzes the realism of film art. The skills and light of the inherently illusory nature Achieve knowledge ofthe first 47, hr c:hlpters are used in the third to a visually 1 itet at 4;1critique ofFrederickwi semen's film,I, High School." The second part of the book concernsthe teaching of visual lits racy ski lls as part of the high-school English curriculum. The first chapter in `his section offers practicalsuggestions about how get suit& blematerials and what not to do in the classroom.rh, second contains descriptions ofvarious classroom activities spanning a wide range of difficulty_levels and includes some readingand writing exercises. The book concludeswith appendixes that conta.in a list of books recommended for studentsand for teachers, a gen oral bibliography, and the names andaddresses of film distributors. (FL) ******* ****** ** *** ************ Reproductions supplied by EDR the bes hat can be made from the origina documen ********************* ***q******* ******* *********** * U.l, blifiAltMoNt OP HIALTH, 101.1eArsON AWILPARo NAtioNALINITINTO OP MUCATION THIS 00cokleRT HAl BORN MORRO. OUCI exAcILY AS Receive!) PROM THE PoRloN DI oRoANIZATioN ORIGIN. The New Literacy ANNA if POINt& Or view OR OPINIONS VATNb Do NO? NOGEssARio, ROPRO. sENtOpRICIAL,NATIONAL INSTiTuf a OF ROLKATIoN POSITION OR POLICY. The Language of lA ll n and IlE vi ion Harold M. Foster University of Akron "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTEDBY National Council of Teachers of English TO THE EDUCATIONAL RESOURCES INFORMATION CENTER IERID1." rational Council ofTeachers of English 1111 Kenyon Road, Urbana, Illinois 61801 2 Greta NCTE Editorial Board: Thomas J. Croswell, C. Ker .11 Fristroin, liudino Sims, Donald C. Stemwt, Ann Terry, Robed 11, Ilogin, rA officio, Foal O'Dea, ex officio Book Design: Torn KeyCS NCTE Stock Number 3 339 Copyright Q 1979 by the National Council achers of English, All rights reserved. Punted in the United Stints of America. It is the policy of NCTE in its journals and other publications toprovide a forum for the open discussion of ideasconcerning the content and the teaching of English and the language arts. Publicity accorded to anyparticular point of view does not imply endorsement by the Executive Committee,the Board of Directors, or the membership at large, except in announcementsof policy where such endorsement is clearly specified. Library of Congress Cataloging in Publicat en Data Foster, Harold M The new literacy. Bibliography: p. 1, Moving picture plays History and criticism, 2, Moving-picturesStudy and teaching. 3.Television Study and teaching. 1.Title. PN1995.F64 791.4'07'1273 79 -14592 ISBN 0-8141-3333-9 Contents Prejncc' vii I.Unclerstaiicling Visual Litecy I. Media Manipulation 3 2.'the Realistic Facade of Film 13 3. An Analysis or the Filmlligh School 19 Teaching Visual Literacy 4. Suggestions for 'reaching Visual Literacy 31 5. Classroom Activities for Teaching Visual Literacy Appendix it 53 fl ppendix 56 Appendix C 58 Notes 59 Bibliography 65 Preface Two different cultures meet In American publicschools. Young people who receive most of their Information throughtelevision and films encounter the book-orlented teacher,who has experi- enced education as a linear, thoughtNi processgrounded in the use of written language, Young people need help, In addition to the skills ofreading and writing, they need the basic skills and knowledge necessary todeal Intelligently with the constant btinwe or film iii tigerythey en- Counter daily in their lives, They must develop acritical response to the media and a knowledgeof how the characteristics of film contribute to its ability to Influence them,whether in advertise meats, news reporting, documentaries, or featurefilms, They need to develop the means to protectthemselves from the more manip- ulative aspects of film-portrayed violence,which, though not often Imitated, nevertheless has its effects. Young people mustnot be misled by the apparent ability of films to portrayreal life, and they need to know that television and movielove is not identical to reallife love. They must not believethat a happy, successful life depends on having the physical appearance orpersonality of a movie star or film character. To help students achieve these goals, teachers mustthemselves be visually literate, They must recognize thatfilm and television constitute, in effect, a visual languagewhich makes these media such a powerful numipulative force.Thls book is meant to help high school English teachers understand this newliteracy and how to teach it in their classrooms. The first part of the book defines and analyzesthe basic struc- tural devices used in filmmaking, an understandingof which could be called the minimal reouirement of literacyin the language of film.* Chapter One discusses how the creative useof these de- oThe analysis of film in this book also applies to television becausethe two media are television, occupy a signifi- srsimilar. Films, whether made for theatrical release or for cant portion of broadcast time, and althoughtelevision is ti less intense experience than film, this lack of Uncivillyis somewhat compensated for by the large amount oftele- vision viewing. vii v111 vices coin position, lighting and color, movement, editing, Sound, 1111d rhythmInfluences people and manipulates (11dr responses. Chapter l'wo analyzes the realism of the motion picture medium in light of the Inherently illusory nature of 11 lilt arcThe skills and knowledge of the first two chapters are used hi Chapter three to achieve visually literate critique of Frederick WIseitian's dot u- ntentary /ugh Selund. 'this filin is particularly interesting be- cause its subject nuttier Is sure to elicit responsesfrom both stu- dents and teachers, and theilm's cinema write style makes Its reiltillil appear to have angaestfonublc authority, Part Two concerns the teaching of visual literacy skills as part of the high school English currlculunt. Chapter Pour offers prac- tical helps, including the place of visual Literacy in the cliirietluni, how to get suitable materials, and what not to do In the classroom. Chapter Five con tains descriptions (it' various classroom activities spanning it wide range of difficulty levels, and it includes some reading and writing exercises. Finally, the hook provides appendixes that include alist of books recommended for students and for teachers, a large general bibliography, and the names and addreSSes of film distributors. Acknowledge I owe thanks to many who helped me preftarc this book, Stephen Dunning, whose wisdom rnd imagination have been an example for me for nuiny years, w(1Stine scarier. Dr ink Beaver gave gener- ously of his time and energy to provide sound suggestions, Also, Edward Stasheff and ,Max Wing() carefully read and helped me re- fine this hook, kly wile, Greta, provided a thorough reading of the manuscript amid gave me outstanding edi torhil guidance, I also thank Ann John- son who helped me with this book in the hoot stages,rinally,Icite grateful to George Lind of the National Center for Education Sta- tistics for providing me with worthwhile but hard-to-rind informa- tion about high school media courses. !Wok! M. Foster I Understanding Visual Literacy 1 edia Manipulation On September 30, 1973, the movie Fuzz (1972 ) wns shown on network television, Puzz depicts Boston delinquents who drench people with gasoline, then set them on fire. Two days after Pu2: was broadcast, the crime was actually repeated on a Boston street. Evelyn Wagler was carrying a can of gasoline back to her car when It gang of youths stopped her and forced her to pour the gasoline over herself. The youths then wt her on fire, killing her Boston officials claimed the crime was inspired by the TV film. I Although Ihms and television are for entertainment, informa- tion, and art, this incident indicates another side to these media-- their abilityto influence. The murder of Evelyn Wagler is an illustration of the most sensational aspect of this abilitymedia- stimulated violence.2 Although films and television do not trans- form most people into murderers, their influence often extends over a lifetime and is subtle and difficult to assess. The enormous amount of time spent in watching films and tele- vision by adults and children constitutes one gauge °Mu, influence of these media. In 1966, when the world's population was esti- mated at three billion, the film-watchers of the world went to the movies ten billion times,3 By the time an American teenager reaches the age of eighteen,
Load more

Recommended publications
  • Hamptons Doc Fest 2020 Congratulations on 13 Years of Championing Documentary Films!
    Art: Nofa Aji Zatmiko ALL DOCS ALL DAY DOCS ALL ALL OPENING NIGHT FILM: MLK/FBI Hamptons Doc Fest DECEMBER 4–13, 2020 www.hamptonsdocfest.com is a year we will long Wiseman and his newest film, City Hall. 2020 rememberWELCOME or want LETTER to He stands as one of the documentary forget. Deprived of a movie theater’s giants that every aspiring filmmaker magic we struggled to take the virtual learns from, that Wiseman way of plunge. Ultimately, we decided on yes observing life unfold. Our Award films we can to bring you our 13th festival capture the essence of Art & Music, in these overwhelming times. We Human Rights, and the Environment. programmed 35 great documentary Our Opening night film reveals a hidden films to watch in the warmth and chapter in Martin Luther King’s world. comfort of your home over 10 days. No New this year, you’ll hear and see UP worries about weather, parking, ticket CLOSE video clips presented by the lines, where to catch a snack between Directors of each film. My thanks to an films. You can schedule your own day extraordinary team, and to our Artistic the way you like it. Consider it not Director, Karen Arikian. Lastly, you will only a festival experience but a virtual find all the information and help you’ll festival experiment. need to watch films on your television, When Covid hit, Hamptons Doc Fest tablet or computer. So click on and went into overdrive. We were forced step into the big virtual world wherever to cancel our Docs Equinox Spring you are.
    [Show full text]
  • 2021 Product Catalog Welcome to TRS!
    2021 Product Catalog Welcome to TRS! TRS has been helping people WEB SITES/MEDIA SITES rebuild their lives and perform better since we started www.trsprosthetics.com operations in 1979. An auto This site illustrates most all of our products, provides accident that caused the technical information, training information, video clips and forced amputation of my left valuable tips, as well as literature and research resources. hand, when I was twenty- View additional product videos on our YouTube channel: two years old, and the lack http://www.youtube.com/user/TRSProsthetics/videos of satisfactory prosthetic technology in that era, Product Images spurred the TRS mission and business formula. TRS technology is illustrated and available for “download” directly from our main website. Select high quality images Now more than forty years later, we continue to innovate, for your personal and professional presentations and down- develop, manufacture and sell prosthetic components load according to your needs. Permission is not required to designed to provide you with the best possible performance. use these images. We are experts in upper extremity sports and recreational prosthetic products. Additionally, we now are developing and manufacturing exciting products that serve persons with PRODUCT EVALUATIONS other physical challenges. Clinical Evaluation Program We are focused on innovation, constantly experimenting with Try our products in a clinical setting arranged by your new and exciting materials and designs that help us get closer prosthetist, therapist or doctor. This program allows you to to duplicating human biomechanics to achieve improved review and evaluate product(s) under the supervision of a bimanual, functional performance in a vast arena of activities.
    [Show full text]
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • Cinema Vérité & Direct Cinema 1960-1970
    Cinema Vérité & Direct Cinema 1960-1970 Historical context Cinéma verité: French film movement of the 1960s that showed people in everyday situations with authentic dialogue and naturalness of action. Rather than following the usual technique of shooting sound and pictures together, the filmmaker first tapes actual conversations, interviews and opinions. After selecting the best material, he films the visual material to fit the sound, often using a hand-held camera. The film is then put together in the cutting room. Encyclopedia Britannica Direct Cinema: The invention of relatively inexpensive, portable, but thoroughly professional 16 mm equipment – and the synchronous sound recorder – facilitated the development of a similar movement in the US at just about the same time. Sometimes called cinema verite, sometimes simply ‘direct cinema’, its goal was essentially the capturing of the reality of a person, a moment, or an event without any rearrangement for the camera. Leading American practitioners were Ricky Leacock (Primary, 1960), Frederick Wiseman (Titicut Follies, 1967), Donn Pennebaker (Monterey Pop, 1968) and the Maysles brothers (Salesman, 1969) Encyclopedia Britannica Technological changes Until 1960s synchronous recording of sight & sound on location – difficult to impossible Standard documentary sound-film method - shooting silent - subsequent addition of sound – words, music, sound effects - voice-over commentary (almost) obligatory adds information & interpretation e.g. Grierson, Lorentz This style characterizes documentaries
    [Show full text]
  • Charles Musser Mailing Address
    11/2/15 Vita Charles Musser-1 Charles Musser mailing address: Box 820 Times Square Station, NY. NY. 10108 Yale tel: 203-432-0152; Yale FAX: 203-432-6764 Cell: 917-880-5321 Email: [email protected] Professional website: http://www.charlesmusser.com/ Education: Yale University, B.A., 1975, Major: Film and Literature New York University, Ph.D., October 1986, Dept. of Cinema Studies Academic Experience: 2000-present: Professor: Yale University. Film & Media Studies, American Studies and Theater Studies. Co-chair, Film Studies Program (to July 2008). Acting Chair, Theater Studies Program, Spring 2013; Director Yale Summer Film Institute. Summer 2012: Visiting Professor: Stockholm University. 1995-2000: Assoc. Prof.: Yale University. American Studies and Film Studies. Director of Undergraduate Studies, Film Studies Program. 1992-1995: Asst. Prof.: Yale University. American Studies and Film Studies. Director of Undergraduate Studies, Film Studies Program. 1985-1995: co-chair: University Seminar, Columbia, on Cinema and Interdisciplinary Interpretation. 1991-1992: Visiting Asst. Prof.: UCLA. Dept. of Film and Television. 1988-1992: Adjunct Asst. Prof.: Columbia University. Film Division, School of the Arts. Spring 1990: Visiting Asst. Prof: New York University. Department of Cinema Studies. 1987-Fall 89: Adjunct Asst. Prof.: New York University. Department of Cinema Studies. Fall 1988: Visiting Adjunct: State University of New York- Purchase. Film Department. Spring 1987: Visiting lecturer: Yale University. College seminar. Curatorial Experience: 2014-present: co-founder NHdocs: the New Haven Documentary and co-director: Film Festival. Over the course of a long weekend, the festival features documentaries from the Greater New Haven Area. In 2015, we screened 23 shorts and features.
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Megafire The
    PAID PPCO U.S. Postage U.S. Non Profit Org. Alumni Magazine Winter 2017 Alumni Association 459 UCB 80309-0459 CO Boulder, ALSO IN THIS ISSUE: RAMEN KING IVAN ORKIN GLENN MILLER’S GOLD RECORD TO FINLAND, WITH LOVE OLD HOME ON THE HILL MEGAFIRE THE TOO- BRIGHT FUTURE OF WILDFIRE IN AMERICA NOWOCTOBER 2017 Snow came to campus early this fall: The first flakes piled up Monday, Oct. 9. In all, six inches fell in Boulder that day, according to the National Weather Service. The university operated as normal. Colorado’s famous bluebird sky returned the next morning. 1 WINTER 2017 Coloradan ColoradanPhoto by WINTER Glenn Asakawa 2017 2 FEATURES EDITOR’S NOTE Marvels of human daring 15 Megafire and ingenuity have Wildfire, a familiar phenomenon in the Amer- brought us to sea bot- ican West, is getting worse. Michael Kodas of toms and mountaintops, CU Boulder’s Center for Environmental Jour- to the moon and back. nalism reports. There’s serious talk of human travel to Mars. Yet our species’ 23 A Family Tale creativity and self-con- A 2012 accident paralyzed Marty O’Connor fidence can also blind (Film’10) below the shoulders. Then he went to us to the natural world business school with a trusted study buddy at whence we sprang and his side. of which we’re part. We forget that towns and cities and the comforts 25 Where’d My 14er Go? of civilization are our A new way of measuring elevation in the U.S. creation. We emerged might cost Colorado a couple 14ers.
    [Show full text]
  • XIX:12) Arthur Penn NIGHT MOVES (1975, 100 Min)
    November 17, 2009 (XIX:12) Arthur Penn NIGHT MOVES (1975, 100 min) Directed by Arthur Penn Written by Alan Sharp Produced by Robert M. Sherman Original Music by Michael Small Cinematography by Bruce Surtees Film Editing by Dede Allen Gene Hackman...Harry Moseby Jennifer Warren...Paula Susan Clark...Ellen Moseby Ed Binns...Joey Ziegler Harris Yulin...Marty Heller Kenneth Mars...Nick Janet Ward...Arlene Iverson James Woods...Quentin Melanie Griffith...Delly Grastner Anthony Costello...Marv Ellman John Crawford...Tom Iverson Ben Archibek...Charles Max Gail...Stud Stunts: Dean Engelhardt, Ted Grossman, Richard Hackman, Chuck Hicks, Terry Leonard, Rick Lockwood, Ernie F. Orsatti, Enemy Lines (2001), The Royal Tenenbaums (2001), Heist Chuck Parkison Jr., Betty Raymond, Ronnie Rondell Jr., Walter (2001/I), Heartbreakers (2001), The Mexican (2001), Under Scott, Fred M. Waugh, Glenn R. Wilder, Suspicion (2000), Enemy of the State (1998), Twilight (1998), Absolute Power (1997), The Chamber (1996), The Birdcage ARTHUR PENN (27 September 1922, Philadelphia, Pennsylvania, (1996), Get Shorty (1995), Crimson Tide (1995), The Quick and USA—) directed 27 film and dozens of tv episodes, among them the Dead (1995), Wyatt Earp (1994), Geronimo: An American Inside (1996), Penn & Teller Get Killed (1989), Dead of Winter Legend (1993), The Firm (1993), Unforgiven (1992), Company (1987), Target (1985), Four Friends (1981), The Missouri Breaks Business (1991), Class Action (1991), Postcards from the Edge (1976), Night Moves (1975), Little Big Man (1970), Alice's
    [Show full text]
  • National Gallery of Art Fall10 Film Washington, DC Landover, MD 20785
    4th Street and Mailing address: Pennsylvania Avenue NW 2000B South Club Drive NATIONAL GALLERY OF ART FALL10 FILM Washington, DC Landover, MD 20785 FIGURES IN A STRAUB AND LANDSCAPE: JULIEN HUILLET: THE NATURE AND DUVIVIER: WORK AND HARUN NARRATIVE THE GRAND REACHES OF FAROCKI: IN NORWAY ARTISAN CREATION ESSAYS When Angels Fall Manhattan cover calendar page calendar (Harun Farocki), page four page three page two page one Still of performance duo ZsaZa (Karolina Karwan) When Angels Fall (Henryk Kucharski) A Tale of HarvestA Tale The Last Command (Photofest), Force of Evil Details from FALL10 Images of the World and the Inscription of War (Henryk Kucharski), (Photofest) La Bandera (Norwegian Institute) Film Images of the (Photofest) (Photofest) Force of Evil World and the Inscription of War (Photofest), Tales of (Harun Farocki), Iris Barry and American Modernism Andrew Simpson on piano Sunday November 7 at 4:00 Art Films and Events Barry, founder of the film department at the Museum of Modern Art , was instrumental in first focusing the attention of American audiences on film as an art form. Born in Britain, she was also one of the first female film critics David Hockney: A Bigger Picture and a founder of the London Film Society. This program, part of the Gallery’s Washington premiere American Modernism symposium, re-creates one of the events that Barry Director Bruno Wollheim in person staged at the Wadsworth Athenaeum in Hartford in the 1930s. The program Saturday October 2 at 2:00 includes avant-garde shorts by Walter Ruttmann, Ivor Montagu, Viking Eggeling, Hans Richter, Charles Sheeler, and a Silly Symphony by Walt Disney.
    [Show full text]
  • Documentaries Feature Length
    feature length documentaries LIBRARY latest acquisitions SONS OF HONOUR NO KINGS CPH:DOX by Sophia Luvarà by Emilia Mello In the most violent region of Italy - Calabria - the In a place where conventional structures of authority fall 'Ndrangheta mafia rules. One of the few who dares to away, a tomboy, a sea captain, a fiercely independent stand up against the mafia is the President of the juvenile pregnant mother, and two wayward fishermen must find court, Roberto Di Bella. He took a drastic step by starting their place in the space between the urban and a traditional a re-education programme titled "Free to Choose". The life threatened by impending forces. An ode to nature programme separates teenage boys from their mafia and human relations, No Kings explores the freedom of families to break a generational cycle of criminality. The one of the last Caiçara communities. What begins as a goal is straightforward: to show the teenager that there is simple ethnography becomes a deeply personal journey, another way of life. Sons of Honor is an epic coming-of-age contemplating the current direction of modern Brazil. drama that follows the crusade of Roberto Di Bella, a man living under protection 24/7. Through him and his team of the Juvenile Court, we will meet the sons of some of the most dangerous men in Italy. Encyclopedia Of Imaginary Places - Pulpa Film - Saboteur Witfilm - Doclab Media - Antevita Film The Netherlands - Italy / 52' & 90' / 2020 Brazil - Usa - Luxembourg / 52' & 85' / 2020 THESSALONIKI DOC FF SXSW NOW CPH:DOX THE MYSTERY OF by Jim Rakete THE PINK FLAMINGOS by Javier Polo Featuring: Greta Thunberg, Patti Smith, Wim Wenders, Dr.
    [Show full text]
  • Karl Heider - Ethnographic Film
    ethnographic film TT3867.indb3867.indb i 88/21/06/21/06 112:47:202:47:20 PPMM THIS PAGE INTENTIONALLY LEFT BLANK ethnographic film Revised Edition by karl g. heider university of texas press Austin TT3867.indb3867.indb iiiiii 88/21/06/21/06 112:47:202:47:20 PPMM Copyright © 1976, 2006 by the University of Texas Press All rights reserved Printed in the United States of America Revised edition, 2006 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713– 7819 www.utexas.edu/utpress/about/bpermission.html ᭺ϱ The paper used in this book meets the minimum requirements of ansi/niso z39.48 – 1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Heider, Karl G., 1935– Ethnographic fi lm / by Karl G. Heider. — Rev. ed. p. cm. Includes bibliographical references and index. isbn-13: 978-0-292-71458-8 ((pbk.) : alk. paper) isbn-10: 0-292-71458-o 1. Motion pictures in ethnology. 2. Motion pictures in ethnology–Study and teaching. I. Title. gn347.h44 2006 305.8 –dc22 2006019479 TT3867.indb3867.indb iivv 88/21/06/21/06 112:47:212:47:21 PPMM To Robert Gardner And to the memory of Jean Rouch John Marshall Timothy Asch TT3867.indb3867.indb v 88/21/06/21/06 112:47:222:47:22 PPMM THIS PAGE INTENTIONALLY LEFT BLANK contents preface ix acknowledgments xv 1. introduction 1 Toward a Definition: The Nature of the Category “Ethnographic Film” 1 The Nature of Ethnography 4 The Differing Natures of Ethnography and Film 8 “Truth” in Film and Ethnography 10 2.
    [Show full text]