Black Maria Film & Video Festival
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CCA Wattis Institute for Contemporary Arts Presents: Abbas Akhavan: Cast for a Folly May 9 Through July 27, 2019 Curated by CCA Wattis Institute Curator Kim Nguyen
CCA Wattis Institute for Contemporary Arts presents: Abbas Akhavan: cast for a folly May 9 through July 27, 2019 Curated by CCA Wattis Institute curator Kim Nguyen Akosua Adoma Owusu: Welcome to the Jungle May 9 through July 27, 2019 Curated by CCA Wattis Institute curator Kim Nguyen Above: Abbas Akhavan, Study for a Garden: Fountain (installation view, Delfina Foundation, London), 2012. Oscillating water sprinkler, pump, hose, pvc pond liner, water, dimensions variable. Courtesy of Catriona Jeffries, Vancouver. Photo: Christa Holka. Below: Akosua Adoma Owusu, Split Ends, I Feel Wonderful, 2012 (still). 16mm film transfer to video, 4 mins. Courtesy of the artist. San Francisco, CA—March 12, 2019—CCA Wattis Institute for Contemporary Arts proudly presents two new solo exhibitions, Abbas Akhavan: cast for a folly and Akosua Adoma Owusu: Welcome to the Jungle. For multi- disciplinary artist Abbas Akhavan, this exhibition is his first U.S. solo show and the culmination of his year as the 2018–2019 Capp Street Artist-in- Residence. Ghanaian-American filmmaker Akosua Adoma Owusu will present a medley of her films in an installation format—new territory for Owusu—in which two of her films will have their institutional premiere at CCA Wattis. Although these are two independent shows, both artists navigate histories, identities, politics, and materiality through distinct international lenses. “We are thrilled to present the newest works by each of these incredible artists,” says Kim Nguyen, CCA Wattis Institute curator and head of programs. “Abbas Akhavan’s time and attention to place made him a perfect fit for the Capp Street residency, where he can really delve into the ethos of San Francisco and its communities. -
Fall 2011 FSCP 81000 – Film History II
Fall 2011 FSCP 81000 – Film History II, Professor Paula Massood, Wednesday, 2:00-6:00pm, Room C-419, 3 credits [15907] Cross listed with THEA 71600/ART 79500/MALS 76300 This course is devoted to intensive analysis of the international development of cinema as a medium and art form from the early sound years (1930 onward) to the present. We will concentrate on major film tendencies and aesthetic and political developments through a close examination of individual film texts. Subjects covered will include Hollywood filmmaking during the Depression years, French Poetic Realism, Italian Neorealism, melodrama and other postwar Hollywood genres, the rise of global "new waves" (including French, Latin American, and German filmmaking movements from the late-1950s through the 1970s) and modernist tendencies in international cinema. We will also examine the rise of American independent filmmaking, recent global cinema trends, and the effects of new digital technologies on visual and narrative aesthetics. Emphasis will be placed on the major historical currents of each period and on changes in aesthetic, political and industrial context. Required Texts: Required: David A. Cook. A History of Narrative Film. 3rd ed. New York: Norton, 1996. Available through the GC Virtual Bookshop. Scheduled films and supplemental readings ® are on reserve in the library. Recommended books and additional films are listed in the syllabus, available in the Certificate Programs office (Room 5110). Please note: Students are not required to purchase recommended texts or view all the suggested films. Course Requirements: Writing Assignments: 1) 8pp. essay on prearranged topic. (40%) 2) 15pp. final essay on topic of choice. -
Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia Through Popular Culture
Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia through Popular Culture. London: Bloomsbury Academic, 2013. 83–108. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781472544759.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 04:19 UTC. Copyright © Rupa Huq 2013. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity I never wanted to get into this rat-race but now that I’m in it I think I’d be a fool not to play it just like everyone else plays it. (Gregory Peck as Tom Rath, Th e Man in the Gray Flannel Suit , 1956) Th e cinema in its literal sense has been both a landmark of the suburban-built environment and staple source of popular culture in the post-war era: with the Regals, Gaumonts, UCGs and ABCs off ering relatively cheap escapism from everyday mundanity and routine. Th e cinema has served the function of a venue for suburban courtship for couples and entertainment for fully formed family units with the power to move audiences to the edge of their seats in suspense or to tears – be that laughter or of sadness. While the VHS and advent of domestic video recorders was seen to threaten the very existence of the cinema, many suburban areas have seen the old high street picture palaces replaced/displaced/ succeeded by out-of-town complexes where suburbia has sometimes been the subject on the screen as well as the setting of the multiplex they are screened in. -
990-PF and Its Instructions Is at Www
l efile GRAPHIC p rint - DO NOT PROCESS As Filed Data - DLN: 93491133028034 Return of Private Foundation OMB No 1545-0052 Form 990 -PF or Section 4947 ( a)(1) Trust Treated as Private Foundation 0- Do not enter Social Security numbers on this form as it may be made public. By law, the 2013 IRS cannot redact the information on the form. Department of the Treasury 0- Information about Form 990-PF and its instructions is at www. irs.gov /form990pf . Internal Revenue Service For calendar year 2013 , or tax year beginning 01 - 01-2013 , and ending 12-31-2013 Name of foundation A Employer identification number CHARLES EDISON FUND 22-1514861 Number and street (or P 0 box number if mail is not delivered to street address) Room/suite U ieiepnone number (see instructions) ONE RIVERFRONT PLAZA 3RD FLOR (973) 648-0500 City or town, state or province, country, and ZIP or foreign postal code C If exemption application is pending, check here F NEWARK, NJ 07102 G Check all that apply r'Initial return r'Initial return of a former public charity D 1. Foreign organizations, check here F r-Final return r'Amended return 2. Foreign organizations meeting the 85% test, r Address change r'Name change check here and attach computation E If private foundation status was terminated H Check type of organization Section 501(c)(3) exempt private foundation und er section 507 ( b )( 1 )( A ), c hec k here F_ Section 4947(a)(1) nonexempt charitable trust r'Other taxable private foundation I Fair market value of all assets at end J Accounting method F Cash F Accrual F If the foundation is in a 60-month termination of year (from Part II, col. -
Magical Realism in Mitch Albom's Novel
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositori UIN Alauddin Makassar MAGICAL REALISM IN MITCH ALBOM’S NOVEL ”THE FIRST PHONE CALL FROM HEAVEN” Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Humaniora in English and Literature Department of Faculty of Adab and Humanities of UIN Alauddin Makassar By PUTRI UTARI Reg. No. 40300111105 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY MAKASSAR 2016 TABLE OF CONTENTS TITLE PAGE ........................................................................................................ i PERNYATAAN KEASLIAN SKRIPSI ............................................................. ii PENGESAHAN SKRIPSI .................................................................................. iii PERSETUJUAN PEMBIMBING ..................................................................... iv APPROVAL SHEET ............................................................................................ v ACKNOWLEGMENTS ..................................................................................... vi TABLE OF CONTENTS .................................................................................. viii ABSTRACT ........................................................................................................... x CHAPTER I INTRODUCTION A. Background ........................................................................................... 1 B. Research Question ................................................................................ -
Mandel Nathan. Goodwill Gone Wrong, 2017
Goodwill Gone Wrong A Proposal for a Thesis in Creative Writing Department of English Bar-Ilan University Nathan Mandel 337808109 Adviser: Prof. Evan Fallenberg Adviser: Ms. Dalia Rosenfeld 13/12/2017 כוונות טובות, נעלמו הצעת מחקר לתיזה בכתיבה יוצרת המחלקה לאנגלית אוניברסיטת בר-אילן נתן מנדל 337808109 מנחה: פרופ' אבן פלנברג מנחה: גב' דליה רוזנפלד 13/12/2017 Table of Contents Page 2: Aims and General Discussion Page 3: Conceptual Background Page 7: Shape of the project Page 9: Bibliography 1 Aims and General Discussion Often, our best intentions go awry and often our truest selves become apparent when attempting to act in someone else’s interests. The focus of this project is to exploit the window to the soul that is opened when one person reaches out their hand to the next. The thesis will consist of a series of short stories arranged to display stories with more emotionally intense climaxes closer to the end of the collection. Similar to Dante descending into the depths of hell to finally meet the devil himself, the arrangement should not reduce the emotional intensity of its stories until the end of the collection. The intended effect is to entice the reader into reading further by creating anticipation for the emotional experience to come. Stories should range from three to fifteen pages. They will written in a conventional style. This entails the opening and inciting incident coming first, followed by the rising action, crisis point, climax, and falling action respectively. The theme of the thesis is best intentions gone awry. Each story should include some focus on acts of kindness that fail horribly. -
Latvian Neorealism in the Films of Laila Pakalniņa
BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE Article Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa KLĀRA BRŪVERIS, University of New South Wales, Australia; email: [email protected] 38 DOI: 10.1515/bsmr-2017-0003 BALTIC SCREEN MEDIA REVIEW 2016 / VOLUME 4 / ARTICLE ABSTRACT This paper examines the development of neorealist tendencies in the oeuvre of contemporary Latvian filmmaker Laila Pakalnina. Her work is positioned within the global dissemination of cinematic neorealism, and its local manifestations, which, it is argued, develop in specific national contexts in reaction to dramatic societal and political changes. Pakalniņa’s films are examined as a documentation of the change from a communist satellite state to an independent democratic, capitalist country. Heavily influenced by the Riga School of Poetic Documentary, a movement in Latvian cinema that adhered to the conventions of poetic documentary filmmaking, the article analyses how her films replicate and further develop the stylistic and aesthetic devices of the Italian neorealists and the succeeding cinematic new waves. In doing so the argument is put forth that Pakalnina has developed neorealism Latvian style. Due to their size, small nations do not pos- grassroots globalisation is also occurring in sess the economic or political capital to Latvia. More specifically, the Latvian direc- participate in dominant networks of globali- tor Laila Pakalniņa is participating in an sation, which serve the interests of larger, alternative network of cinema globalisation wealthier nations that use global networks by re-appropriating the stylistic and aes- for political or financial gain (Hjort, Petrie thetic tropes of Italian neorealism, which 2007: 8). -
General Introduction Sustainability Issues in the Preservation of Black and White Cellulose Esters Film- Based Negatives Collections
Élia Catarina Tavares Costa Roldão Licenciada em Conservação e Restauro A contribution for the preservation of cellulose esters black and white negatives Dissertação para obtenção do Grau de Doutor em Ciências da Conservação do Património, Especialidade em Ciências da Conservação Orientador: Doutora Ana Maria Martelo Ramos, Professora Associada, FCT NOVA Co-orientadores: Doutor Bertrand Lavédrine, CRC Doutor António Jorge D. Parola, Professor Associado com Agregação, FCT NOVA Júri: Presidente: Doutora Maria João Seixas de Melo, Professora Catedrática, FCTNOVA Arguentes: Doutor Hugh Douglas Burrows, Professor Catedrático Jubilado, FCT-UC Doutora Ana Isabel S. C. Delgado Martins, Directora do AHU-DGLAB Vogais: Doutora Ana Maria Martelo Ramos, Professora Associada, FCT NOVA Doutor João Pedro Martins de Almeida Lopes, Professor Auxiliar, FF- UL Novembro, 2018 A contribution for the preservation of cellulose esters black and white negatives Copyright © Élia Catarina Tavares Costa Roldão, Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa. A Faculdade de Ciências e Tecnologia e Universidade Nova de Lisboa têm o direito, perpétuo e sem limites geográficos, de arquivar e publicar esta dissertação através de exemplares impressos reproduzidos em papel ou de forma digital, ou por qualquer outro meio conhecido ou que venha a ser inventado, e de divulgar através de repositórios científicos e de admitir a sua cópia e distribuição com objectivos educacionais ou de investigação, não comerciais, desde que seja dado crédito ao autor e editor. -
Mother Tongue Film Festival
2016–2020 Mother Tongue Film Festival Five-Year Report RECOVERING VOICES 1 2 3 Introduction 5 By the Numbers 7 2016 Festival 15 2017 Festival 25 2018 Festival 35 2019 Festival 53 2020 Festival 67 Looking Ahead 69 Appendices Table of Contents View of the audience at the Last Whispers screening, Terrace Theater, Kennedy Center. Photo courtesy of Lena Herzog 3 4 The Mother Tongue Film Festival is a core to the Festival’s success; over chance to meet with guest artists and collaborative venture at the Smithso- time, our partnerships have grown, directors in informal sessions. We nian and a public program of Recov- involving more Smithsonian units and have opened the festival with drum ering Voices, a pan-institutional pro- various consular and academic part- and song and presented live cultural gram that partners with communities ners. When launched, it was the only performances as part of our festival around the world to revitalize and festival of its kind, and it has since events. sustain endangered languages and formed part of a small group of local knowledge. The Recovering Voices and international festivals dedicated We developed a dedicated, bilingual partners are the National Museum of to films in Indigenous languages. (English and Spanish) website for Natural History, the National Museum the festival in 2019, where we stream of the American Indian, and the Cen- Over its five editions, the festival has several works in full after the festival. ter for Folklife and Cultural Heritage. grown, embracing a wide range of And, given the changing reality of our Through interdisciplinary research, audiovisual genres and experiences, world, we are exploring how to pres- community collaboration, and pub- drawing audiences to enjoy screen- ent the festival in a hybrid live/on- lic outreach, we strive to develop ef- ings often at capacity at various ven- line model, or completely virtually, in fective responses to language and ues around Washington, DC. -
Moving Pictures: the History of Early Cinema by Brian Manley
Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S. -
Sprin G 2016 N Ew S Letter
SPRIN G 2016 2016 G NE W SLETTER HISTORY OF ART DEPARTMENT UNIVERSITY OF PENNSYLVANIA Dear Alumnae and Friends, I write to you with great pleasure as the new chair of the Department of the History of Art to update you on all we’ve accomplished this year. Let me start by thanking Holly Pittman, Bok Family Professor in the Humanities, for chairing our department over the last seven years with passion, vision and care. Under her leadership, we have expanded our engagement with Visual Studies, Digital Visualization, and Object-Based Learning; increased our visibility in the university, the city of Philadelphia, and the wider world; and continued to build our relationship with a number of area museums, including the Philadelphia Museum of Art, the Institute of Contemporary Art, the Arthur Ross Gallery, the Barnes Foundation, and the Penn Museum of Archaeology and Anthropology. She has encouraged us to be diverse, innovative, globally minded, people-centered, and as attentive to the distant past as to the pressing concerns of the present. We are deeply grateful for her two terms of service. I would also like to thank David Brownlee, Frances Shapiro-Weitzenhoffer Professor of nineteenth Century European Art, for his generous and dedicated service as Chair of the Graduate Group in the History of Art since 2012. David has been attentive to our students’ needs and a strong advocate for graduate education. Thanks also go to his successor, Michael Leja, Professor of American Art, for taking over this important role. Professor Gwendolyn DuBois Shaw has generously offered to continue as Chair of the Undergraduate Group when she returns from sabbatical in 2016, and thanks to Professor Julie Nelson Davis for serving as interim undergraduate chair while Professor Shaw is away. -
{TEXTBOOK} Making Prestigious Places 1St Edition
MAKING PRESTIGIOUS PLACES 1ST EDITION PDF, EPUB, EBOOK Mario Paris | 9781315312446 | | | | | Making Prestigious Places 1st edition PDF Book Want to Read saving… Error rating book. Antique ST. External Websites. In the process, he socially distanced the ball from the glove. It remained for someone to combine the principles embodied in the apparatuses of Muybridge and Marey with celluloid strip film to arrive at a viable motion-picture camera. Little Black Sambo. He was scheduled to show his work in New York City in , but he disappeared while traveling in France. Best Match. Her work insists on the centrality of Black female forms within the cultural sphere, and serves as a beacon in our moment. Accessibility Help. The International Astronautical Federation ration IAF is thrilled to be able to offer a free registration to ALL for the most important annual event of the space sector. Law Books. Results Pagination - Page 1 1 2 3 4 5 6 7 8 9 Collector's Edition. Noha Nasser. Jeffrey Eugenides' Middlesex was published in and went on to win the Pulitzer Prize for Fiction in Anthony Fauci, First Pitch Mechanics. For the first time in its prestigious history, the International Astronautical Congress IAC will be fully virtual and free of charge. Sandhya Rani Jha. Jump to. The only content we will consider removing is spam, slanderous attacks on other members, or extremely offensive content eg. Your vote is your voice! While with prehistory only approximate dates can be offered, historical periods require a firm chronological framework, which, unfortunately,…. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree Edmund Dulac.