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The 13Th Annual Native Cinema Showcase
The 13th Annual Native SWAIA and the Smithsonian Institution’s National Museum of the American Indian bring a seven-day celebration of films and videos by and about Native Cinema Showcase peoples to Santa Fe Indian Market. All screenings are held at the New Mexico History Museum, 113 Lincoln Avenue. For more information, call 505-476-5200. August 12-18, 2013 All films and screening times are subject to change. For the most up-to-date Free admission guide, visit swaia.org or santafeindianmarket.com. Monday, August 12 7 p.m. The Lesser Blessed *FOr matUre aUdIenCeS* Co-presented by imagine natIVe Film + media arts Festival (Canada, 2012, 86 min.) director: anita doron; Writers: richard Van Camp (tlicho), anita doron Fort Simmer, northwest territories. By Larry Sole’s reckoning, there’s not much to do there “if you’re not into booze or sports,” especially not if you’re an awkward teen trying to keep a low profile and the secrets of your past buried on the neighboring rez. But when you’re 16, how do you avoid the raw lure of life? Preceded by: The Hunt (Canada, 2012, 10 min.) Writer/director: Jordan tannahill; Co-writer: annabella Piugattuk (Inuit) In the long light of the midnight sun, a young woman searches for her teenaged son. Tuesday, August 13 1 p.m. Indian 101 – Work in Progress Screening Presented by Vision maker media (USa, 2013, 63 min.) director: Julianna Brannum (Comanche) From her childhood in Cotton County, Ok, through her years in Washington, dC, where oftentimes she was the only “visible Indian,” to her current occupation as a mentor to dozens of young native leaders, Ladonna Harris continues her impactful work shaping social and political practice impacting native people. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Summer 2019 Vol.21, No.3 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SUMMER 2019 VOL.21, NO.3 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA A Rock Star in the Writers’ Room: Bringing Jann Arden to the small screen Crafting Canadian Horror Stories — and why we’re so good at it Celebrating the 23rd annual WGC Screenwriting Awards Emily Andras How she turned PM40011669 Wynonna Earp into a fan phenomenon Congratulations to Emily Andras of SPACE’s Wynonna Earp, Sarah Dodd of CTV’s Cardinal, and all of the other 2019 WGC Screenwriting Award winners. Proud to support Canada’s creative community. CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 3 Summer 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire [email protected] Contents Director of Communications Lana Castleman Cover Editorial Advisory Board There’s #NoChill When it Comes Michael Amo to Emily Andras’s Wynonna Earp 6 Michael MacLennan How 2019’s WGC Showrunner Award winner Emily Susin Nielsen Andras and her room built a fan and social media Simon Racioppa phenomenon — and why they’re itching to get back in Rachel Langer the saddle for Wynonna’s fourth season. President Dennis Heaton (Pacific) By Li Robbins Councillors Michael Amo (Atlantic) Features Mark Ellis (Central) What Would Jann Do? 12 Marsha Greene (Central) That’s exactly the question co-creators Leah Gauthier Alex Levine (Central) and Jennica Harper asked when it came time to craft a Anne-Marie Perrotta (Quebec) heightened (and hilarious) fictional version of Canadian Andrew Wreggitt (Western) icon Jann Arden’s life for the small screen. -
Music Videos in the British Screen Industries and Screen Heritage: from Innovation to Curation
Alphaville: Journal of Film and Screen Media no. 19, 2020, pp. 154–159 DOI: https://doi.org/10.33178/alpha.19.13 Music Videos in the British Screen Industries and Screen Heritage: From Innovation to Curation Introduction Emily Caston In December 2019, Rolling Stone magazine ran a piece on the best videos of the year which began by asking, “What even counts as a music video now?” (Shaffer). Vevo, Tiktok and Instagram TV have blurred the lines. Videos can be an hour long. They can be events on YouTube Premiere. They can be virtual reality. The idea that the world of the earliest creators of pop promos was simple in comparison to today subtends this dossier. In 2015, I was awarded an Arts and Humanities Research Council (AHRC) grant to investigate the history of music videos in Britain since 1966.1 At the end of the grant, I curated a collection of the most significant of those videos into a limited-edition box set (Power). Selecting them involved very detailed discussions with our interviewees and industry consultants about just what a “music video”—known as a “promo” until the mid 1980s—is. The term “music video” arose in the 1980s. It was used in record labels to describe visual products mastered on physical videotapes for television broadcast. In fact, almost all of those products were shot on celluloid (16mm or 35mm) until digital technologies allowed HD to become the norm in the 2000s. For the purposes of this dossier, I define music videos and pop promos as a type of musical short film for mass audiences commissioned and released by record labels (usually) at the same time as the release of a synchronised audio “single”; the shorts comprise a copyrighted synchronised picture and audio track in which a percentage of the royalties accrue to the recording artist and/or record label. -
Russia Outside Russia”: Transnational Mobility, Objects Of
“RUSSIA OUTSIDE RUSSIA”: TRANSNATIONAL MOBILITY, OBJECTS OF MIGRATION, AND DISCOURSES ON THE LOCUS OF CULTURE AMONGST EDUCATED RUSSIAN MIGRANTS IN PARIS, BERLIN, AND NEW YORK by Gregory Gan A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Anthropology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) February 2019 © Gregory Gan, 2019 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: “Russia outside Russia”: Transnational Mobility, Objects of Migration, and Discourses on the Locus of Culture amongst Educated Russian Migrants in Paris, Berlin, and New York submitted by Gregory Gan in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Anthropology Examining Committee: Dr. Alexia Bloch Supervisor Dr. Leslie Robertson Supervisory Committee Member Dr. Patrick Moore Supervisory Committee Member Dr. Nicola Levell University Examiner Dr. Katherine Bowers University Examiner Prof. Michael Lambek External Examiner ii Abstract This dissertation examines transnational Russian migration between Moscow, Berlin, Paris, and New York. In conversation with forty-five first- and second-generation Russian intellectuals who relocated from Russia and the former Soviet Union, the researcher investigates transnational Russian identity through ethnographic, auto-ethnographic, and visual anthropology methods. Educated migrants from Russia who shared with the researcher a comparable epistemic universe and experiential perspective, and who were themselves experts on migration, discuss what it means to belong to global transnational diasporas, how they position themselves in historical contexts of migration, and what they hope to contribute to modern intellectual migrant narratives. -
With Comments About 2002)
Steve’s Film Festival Reviews for 2003 (With Comments About 2002) By Steve Munro Ratings !#%?$ An appalling piece of junk (new rating this year) 0 I walked out (rating unused in 2003) * I stayed to the bitter end (but probably shouldn’t have) ** Maybe worth seeing once *** Recommended **** First rate ***** Best of the festival The reviews are arranged in the order of viewing. Festival Main Title The main title gets more boring every year. All of the Festival posters this year have someone holding a film frame in front of them through which one can see the background. This image is transferred to the screen with a woman on a long wooden bridge whose rails and posts suggest/become frames on a film. By the second day, I was seriously bored with this, and astounded that the Festival has only prints of this with overexposed and out of focus titles. The only time I saw it properly was at digital projections. Universal Studios’ salute to the volunteers, on the other hand, was always warmly received even though it’s seen over and over again because the audience really appreciates the work the volunteers (and the Festival staff) do to make this whole thing possible. People’s Choice Trailer AGF has three trailers and one poster this year, all based on the concept that a character is trapped in a job other than his/her true desire. · The Poster: A teacher who would rather be in the movies has Dick, Jane and Spot in screenplay format on her blackboard. · A Private Eye really wants to be a director/cinematographer, and critiques his surveillance of a tryst while, presumably, the tearful husband watches on a camcorder’s monitor. -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
Running Head: POPULAR PEDAGOGY in CANADIAN TELEVISION
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Brock University Digital Repository Running head: POPULAR PEDAGOGY IN CANADIAN TELEVISION Popular Pedagogy in Canadian Television: A Feminist Critical Discourse Analysis of Trailer Park Boys Andrew Haddow, B.A. (Hons.) Department of Graduate Studies in Education Submitted in partial fulfillment of the requirements for the degree of Master of Education Faculty of Education, Brock University St. Catharines, Ontario © Andrew Haddow, 2017 POPULAR PEDAGOGY IN CANADIAN TELEVISION Abstract This major research paper studied the representations of masculinity in the Canadian television program Trailer Park Boys from the perspective of public pedagogy and education. Motivated by a desire to expose how patriarchal discourses are learned through everyday practices and texts, a methodology of feminist Critical Discourse Analysis (CDA) was formulated. Trailer Park Boys is a long-running mockumentary series set in a fictional trailer park near Halifax, Nova Scotia. It focuses on a cast of male characters with exaggerated personalities, and is satirical in tone. Prior to the main analysis of this paper, a collection of relevant literature was conducted and an opportunity to address a lack of gender-focused studies of Canadian television, including Trailer Park Boys, was noted. This study used the feminist CDA method to analyze what masculinities were reinforced as normal or abnormal in Seasons 3 and 9 of the program, based on the understanding that popular culture is a site of everyday learning. After the data was collected episode-by-episode, it became apparent that the themes of family, authority, and sexuality were helpful in understanding what relationship Trailer Park Boys had with traditional representations of heteronormative masculinity. -
In Connection with Music, the Term 'Video' Or 'Music Video' Is Used
Alf Björnberg, “video” The New Grove Dictionary of Opera, OUP, 2007. In connection with music, the term ‘video’ or ‘music video’ is used primarily to refer to a form of short film, whose soundtrack exclusively or predominantly consists of a popular song, and which is intended for television presentation with the purpose of promoting a recording of the song. Since the beginning of the 1980s, music video has been a regular component in the marketing procedures of popular music. Notwithstanding the designation, music videos or ‘video clips’ are often produced using traditional celluloid film technology and transformed to electronic media in the post-production process. 1. History. The predecessors of music video in its modern form can be traced back to the experiments on the synchronization of film with recorded sound made since the earliest days of film. These experiments also included forms governed by the primary formal determinant serving to distinguish music video from film music: the use of the film medium for visual illustration of songs as opposed to the film music practice of providing music to accompany visual narration. Thus in the 1910s and 1920s silent ‘song-plug’ films were produced, intended for presentation accompanied by live performances of the songs that the films illustrated. Animated films with musical soundtracks were produced by the German Oskar von Fischinger from 1921 onwards, and this technique was popularized in Disney's series of Silly Symphonies short films (from 1929) and the full-length Fantasia (1940). In the 1930s and 40s a great number of musical short films were produced, each featuring one or two songs by a popular artist and intended as preludes to the main feature film in cinemas. -
Slicv33n2.Pdf
2 | School Libraries in Canada – CLA Voices for School Libraries School Libraries in Canada Spring 2015 ISSN 1710-8535 Volume 33, Number 2 Truth 5 Derrick Grose Educational Tools on the Youth Criminal Justice Act (YCJA) 6 Department of Justice Outils pédagogiques concernant la Loi sur le système de justice pénale pour les adolescents (LSJPA) 9 Ministère de la Justice du Canada Programming for School Libraries at the CLA Conference 12 CLA Conference Organizing Committee Law and laughter (or at least a few giggles) 13 SLiC Resources No one was telling stories about the north in the way that I saw it 16 Richard Van Camp CBC Digital Archives --> Society --> Crime & Justice 21 SLiC Media Focus The Future Now: A Powerful Tool for Advancing the School Library Learning Commons in Canada 23 Anita Brooks Kirkland Year of the Learning Commons Update 26 Judith Sykes #sliclaw 28 SLiC's Twitter Feed New jewels and neglected gems 29 Publishers highlight new works by Canadian authors and illustrators Spring 2015 |3 Contributors to School Libraries in Canada - Volume 33 Number 2 Anita Brooks Kirkland Derrick Grose Library Editor Consultant School Libariesin Past President, Canada Ontario Library Association Department of Justice / Ministère de la Justice du Canada Judith Sykes Richard Van Camp Author and Author and Educator Teacher Thank you to retired teacher-librarians Diana Gauthier and Helen Lee for their assistance with this issue. 4 | School Libraries in Canada – CLA Voices for School Libraries SLiC Editorial Truth Derrick Grose Editor School Libraries in Canada Outside the front entrance of the Supreme Court of Canada building in Ottawa there are two statues by Walter S. -
20 BAFICI Catalogo
CONTRATAPA LOMO TAPA 22mm CATALOGUE CATÁLOGO / CATÁLOGO UNA NUEVA OPORTUNIDAD PARA A NEW OPPORTUNITY TO ENJOY DISFRUTAR DE LO MEJOR DEL CINE THE BEST OF FILM IN THE CITY EN LA CIUDAD El cine es una experiencia estética y vital que Film is a vital aesthetic experience that nos hace conocer otros mundos, historias, personajes y makes us approach new worlds, stories, characters realidades. Cuando se apaga la luz de la sala, la historia and realities. When the lights go out at the theater, proyectada en la pantalla nos enciende la emoción y the story projected on the screen ignites emotion la reflexión. El cine nos suministra sensaciones, imá- and reflection. Film provides us with sensations, genes, actores y la mirada personal de los directores. images, actors and the personal gaze of the film- El Bafici nos acerca todo el cine de América, Europa, makers. Bafici draws us near to all the cinema of Asia, Oceanía y África. Nos trae a los directores con- America, Europe, Asia, Oceania and Africa. It brings sagrados y emergentes de todo el mundo, así como us established and emerging directors from around las formas experimentales y las formas tradicionales de the globe. With the city’s screens crowded with peo- contar historias. Con las salas de la Ciudad colmadas ple, Bafici turns film into a collective experience that de gente, el Bafici hace del cine una experiencia colec- includes us all. And due to its extraordinary quality, tiva que nos incluye a todos. Y por su calidad extraor- it’s one of the most important festivals in Latin Ame- dinaria, es uno de los festivales más importantes de rica and the rest of the world. -
Estudio Sociológico Del P2p Y Su Impacto En La Cultura
ESTUDIO SOCIOLÓGICO DEL P2P Y SU IMPACTO EN LA CULTURA ANALIZAMOS LA MAYOR DIGITALIZACIÓN DE SERIES DE TV EN ESPAÑOL www.internautas.org 27 de diciembre de 2010 Más información y herramientas del estudio en http://estudiop2p.internautas.org 1 ESTUDIO SOCIOLÓGICO DEL P2P Y SU IMPACTO EN LA CULTURA www.internautas.org INDICE Origen y muestra de datos ……………………………………………………………………………………………………………………… 3 Análisis de los datos: clasificación de las series ……………………………………………………………………………………….. 4 La elaboración de los archivos de vídeo desde distintas fuentes ……………………………………………………………… 5 Desglose completo de las fuentes de vídeo y sonido …….………………………………………………………………………… 6 DVD como fuente principal …………………………………………………………………………………………………….……. 7 TDT como fuente principal ……………………………………..…………………………………………………………….….….. 8 HDTV como fuente principal …………………………………………………………………………………………………………. 9 SAT como fuente principal ……………………………………………………………………………………………………..……. 10 TV y VHS como fuente principal …………………………………………..………………………………………………………. 11 IPTV como fuente principal …………………………………………….……………………………………………………………. 12 CABLE como fuente principal ………………………………………………………….……………………………………………. 13 CONCLUSIONES: una gigantesca biblioteca virutal ……………………………………………………………………………..…… 14 CONCLUSIONES: cuánta gente participa en la elaboración de los archivos …………….…………………………..…… 14 CONCLUSIONES: sobre la calidad de las fuentes de vídeo y audio ….…………………………………………………..…… 15 CONCLUSIONES: incremento 2009 – 2010 de archivos y usuarios ……………………………….……………………..…… 15 OPINIÓN ………………………………………..……………….……………………………….…………………………….……………………….