DOCSLIB.ORG

AUG & SEP 2013 at Bamcinématek

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AUG & SEP 2013 at Bamcinématek AUG & SEP 2013 at BAMcinématek The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. AUG 2—8 (One Week) US theatrical premiere! Charlie Ahearn’s JAMEL SHABAZZ STREET PHOTOGRAPHER Ahearn, Shabazz, Fab 5 Freddy, & David “Chino” Villorente in person In the infancy of hip-hop, Brooklyn-born photographer Jamel Shabazz documented the pioneers of music and style that would launch an enduring worldwide phenomenon. Ahearn, director of the seminal film Wild Style, pays tribute to both Shabazz and those who defined hip-hop before it had a definition. More than just vintage shots of kids rocking Puma Suedes, Kangols, and pinstriped Jordaches in Times Square and Fort Greene Park, Shabazz’s photographs have hundreds of (often times tragic) stories behind them, and Ahearn gives voice to these images with dozens of interviews with Shabazz himself, graffiti pioneer and hip-hop historian Fred “Fab 5 Freddy” Brathwaite, legendary rapper KRS-One, and others. Ahearn, Shabazz, Fab 5 Freddy, hip-hop multihyphenate Bobbito Garcia, and artist David “Chino” Villorente, who designed a limited-edition poster for the documentary, will appear in person for opening weekend Q&As on Friday, August 2 and Saturday, August 3 at 7pm. AUG 9—12 (Four Days, Four Films) CHAPLIN IN 35MM “The only genius to come out of the movie industry” (George Bernard Shaw), Charlie Chaplin gave cinema some of its most poignant, outlandish, and indelible images. A performer of balletic grace, he balanced never-topped comedic set pieces with moments of soulful vulnerability. And behind the camera, he was the ultimate auteur—a writer, director, producer, actor, editor, and composer whose exacting standards could yield that rarest of results: true moviegoing perfection. BAMcinématek presents this series of four Chaplin favorites, all in 35mm. FILMS INCLUDE: City Lights (1931), The Great Dictator (1940), A King in New York (1957), Modern Times (1936). AUG 13—28 (Two Weeks, 40 Films) A TIME FOR BURNING: CINEMA OF THE CIVIL RIGHTS MOVEMENT Special guests include D.A. Pennebaker, Madeline Anderson, Jack Willis, William Jersey, and more to be announced To commemorate the 50th anniversary of the March on Washington, BAMcinématek presents 40 films documenting the civil rights movement from the end of World War II to the March and the waves of legislation that passed in the years after. Culled from 28 private film and television archives, collectors, studios, and the New York Public Library, these films create a picture of what is often called the heroic era of the civil rights movement with rarely screened documentaries and archival footage alongside Hollywood classics, revolutionary independent films, agitprop, and incendiary exploitation movies from Roger Corman and Herschell Gordon Lewis. FILMS INCLUDE: All My Babies (Stoney, 1952), American Revolution 2 (Alk, 1969), Baldwin’s N_____r (Ové, 1968), Black Natchez (Pincus and Neuman, 1965), The Bus (Wexler, 1965), The Children Were Watching (Drew, 1961), Crisis: Behind a Presidential Commitment (Drew, 1963), The Cry of Jazz (Bland, 1959), Freedom March (Emshwiller, 1963), I Am Somebody (Anderson, 1970), I Heard It Through the Grapevine (Fontaine and Hartley, 1982), Integration Report 1 (Anderson, 1960), The Intruder (Corman, 1962), King: A Filmed Record…Montgomery to Memphis (Landau, 1970), Lay My Burden Down (Willis, 1966), The Learning Tree (Parks, 1969), Let the Church Say Amen! (Bourne, 1974), The March (Blue, 1964), My Childhood Part 2: James Baldwin’s Harlem (Barron, 1964), Native Land (Hurwitz & Strand, 1942), Nine from Little Rock (Guggenheim, 1964), Nothing But a Man (Roemer, 1964), Now! (Álvarez, 1965), Odds Against Tomorrow (Wise, 1959), Palmour Street (Stoney, 1957), Portrait of Jason (Clarke, 1967), A Raisin in the Sun (Petrie, 1961), Still a Brother (Greaves, 1968), The Streets of Greenwood (Willis, Wardenburg & Reavis, 1963), A Time for Burning (Jersey, 1966), To Kill a Mockingbird (Mulligan, 1962), A Tribute to Malcolm X (Anderson, 1967), Two Thousand Maniacs! (Lewis, 1964). AUG 29—SEP 5 (Eight Days, Six Films) Robert Clouse’s ENTER THE DRAGON + 5 WING CHUN CLASSICS New 40th anniversary digital restoration of Enter the Dragon in a week-long run! In conjunction with the release of Wong Kar-wai’s upcoming Ip Man biopic, The Grandmaster, this series revels in the lightning-fast moves of the revered kung fu tradition of wing chun. Passed on to generations of martial artists, wing chun was popularized by icons like Sammo Hung and Ip’s movie-star disciple Bruce Lee. Anchoring the series is a week-long run of Robert Clouse’s Enter the Dragon, in which Bruce Lee (in his last role before his untimely death) gets ample opportunity to showcase his incredible, almost balletic wing chun chops—especially in the now-legendary climactic fight in a hall of mirrors. Over Labor Day weekend, Enter the Dragon will be paired with martial arts rarities, including Shaw Brothers classic Invincible Shaolin (1978) by Chang Cheh; a biopic of the man himself, Wilson Yip’s Ip Man (2008); and Sammo Hung’s Bruce-sploitation masterpiece, Enter the Fat Dragon (1978). ALSO INCLUDES: The Prodigal Son (Hung, 1981), The Way of the Dragon (Lee, 1972). SEP 6—23 (11 Days, 23 Films) SKATEBOARDING IS NOT A CRIME The ultimate in counterculture coolness since the late 1970s, skateboarding has made an irresistibly sexy subject for movies thanks to its rebel-athlete superstars, SoCal slacker fashion, and jaw-dropping jumps, ollies, tricks, and stunts. This series is a tribute to the best skateboarding in cinema, from the 1960s to the present, featuring shorts by Spike Jonze, docs by Stacy Peralta (of course), features by Larry Clark and Gus Van Sant, Noel Black’s Oscar-nominated, Palme d’Or-winning short Skaterdater (1965), cult classics and rarities, and an opening night screening of George Gage’s Skateboard (1978), an awesomely retro ride through 1970s skateboarding culture starring teen idol Leif Garrett (Alfred Hitchcock’s daughter plays his mom!) and Z-Boys great Tony Alva. Gage appears in person for a Q&A following the screening. Pretty rad, dudes. ALSO INCLUDES: Apple Juice (Bruce, 1990), Bones Brigade: An Autobiography (Peralta, 2012), The Devil’s Toy (Jutra, 1966), Dogtown and Z-Boys (Peralta, 2001), Dragonslayer (Patterson, 2011), Freewheelin’ (Dittrich, 1976), Fruit of the Vine (Nichols & Charnoski, 1999), Gleaming the Cube (Clifford, 1989), Ken Park (Clark & Lachman, 2002), Kids (Clark, 1995), Lords of Dogtown (Hardwicke, 2005), The Motivation (Lough, 2013), Paranoid Park (Van Sant, 2007), Shredder Orpheus (McGinley, 1990), Stoked: The Rise and Fall of Gator (Stickler, 2002), This Ain’t California (Persiel, 2012), Tilva Roš (Ležaić, 2010), Thrashin’ (Winters, 1986), Waiting for Lightning (Rosenberg, 2012), Wasted Youth (Papadimitropoulos, 2010), Yeah Right (Jonze, 2003). SEP 9—12 (Three Days, Four Films, all in 35mm) MARLENE GOES WEST After Josef von Sternberg established her image as the Ultimate Love Goddess, German émigré Marlene Dietrich became the unlikely star of a handful of Westerns by some of Hollywood’s greatest autuers. With her exotic beauty and husky contralto, Marlene’s presence lent a tragic (and in one case comedic) air to the saloons and corrals of the Old West. All films in 35mm and starring Marlene Dietrich in Western costumes. FILMS INCLUDE: Destry Rides Again (Marshall, 1939), Rancho Notorious (Lang, 1952), The Spoilers (Enright, 1942), Touch of Evil (Welles, 1958). SEP 25—OCT 2 (Six Days, Six Films) I AM DIVINE “The most beautiful woman in the world, almost,” Divine (née Harris Glenn Milstead) was John Waters’ outrageously-eyebrowed, respectability-razzing, incredibly foul and funny superstar. Immortalized as the “World’s Filthiest Person” in Pink Flamingos, she left nary a taboo unbroken. But beneath the outré persona was a genuine comedic genius who became a pioneering queer icon. Kicking off the retrospective is the New York premiere of Jeffrey Schwarz’s I Am Divine, a new documentary charting how a chubby, misunderstood gay teen from Baltimore transformed into the cult icon and muse Divine. ALSO INCLUDES: Boom! (Losey, 1968), Female Trouble (Waters, 1974), Hairspray (Waters, 1988), Pink Flamingos (Waters, 1972), Polyester (Waters, 1981), and more. For press information, please contact Lisa Thomas at 718.724.8023 / [email protected] Gabriele Caroti at 718.724.8024 / [email protected] .
Load more

Recommended publications
  • New World Documentaries
    January / February 2014 www.winnipegcinematheque.com New World Documentaries Doc’s joyous, romantic, heartbreaking and extraordinarily eventful journey. In his later years, Doc was a mentor to generations of younger songwriters and a fierce advocate for downtrodden musicians. He wrote a thousand songs – including some of the most recorded songs in the history of popular music – but his most lasting gift may have been his uniquely generous spirit. Passages from Doc’s private journals are read by his close friend, Lou Reed. When Jews Were Funny Directed by Alan Zweig 2013, Canada, 90 min Friday, January 10 / 9 pm Saturday – Sunday, January 11 – 12 / 7 pm Wednesday – Friday, January 15 – 17 / 7 pm Saturday, January 18 / 9 pm Best Canadian Feature: 2013 Toronto International Film Festival “The film begins with a question: Why were so many comedians Zweig watched on television in the 1950’s and 60’s Jewish? Zweig presents a casual first person history of Jewish stand up, unearthing some amazing ↑ The Summit archival footage (with a phemonenal bit by the legendary Jackie Mason) and interviewing The Summit some of America’s most successful and Directed by Nick Ryan influential comics, including Elon Gold, Howie 2012, USA, 99 min Mandel, Shelly Berman, Jack Carter, Shecky Greene, David Steinberg and Super Dave Friday – Sunday, January 3 – 5 / 7 pm Osborne… funny and heartfelt.”—TIFF Wednesday – Thursday, January 8 – 9 / 7 pm “Hilarious from start to finish, and at times K2 in the Himalayas is known to climbers very touching.”— THE FILM REEL as the most difficult of mountains, a savage peak, the second highest in the world, with the Insightful and often hilarious, the latest from power to cloud men’s minds.
    [Show full text]
  • September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND
    OUT September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND... The Most Beautiful Woman in the World B y chucK Duncan If you’re a native of Baltimore (and even if you’re not), you certainly know John Waters and Divine. From John’s ear- ly short films from the late 60s to his 1972 calling card, Emmett C. Burns, Pink Flamingos, through 1988’s Hairspray, Waters and his Jr., Announces PAC muse Divine showed the rest of the world what the “reel” to Oppose Marriage Baltimore was like (and there was more than a little of the “real” in those films too). Equality Unfortunately, shortly after the release of Hairspray, Divine passed away suddenly at the true By Dana LaRocca height of his career (he was in Hollywood On September 9, Delegate Emmett C. Susan Lowe, preparing to tape an episode of Married Burns, Jr. (D-Baltimore County) met Mink Stole and Jeffrey … with Children at the time of his death), with eight other clergy at a church in Schwarz depriving the world of his talent and what west Baltimore to announce the for- during their might have come from his true “overnight” mation of “Progressive Clergy in interview stardom. Action” a political action committee. sessions in Today, Divine is a cult figure to many, The group is working with the help of Baltimore his legion of fans from around the world the Maryland Family Alliance, an af- photo: courtesy of Jeffrey Schwarz —continued on page 16 filiate of the Family Research Council (FRC). Delegate Burns has long been and Developed by a Combined Arms Center- an opponent of marriage equality.
    [Show full text]
  • The Evolution of Fat Female Characters in Contemporary American Film a Thesis Presented to the Faculty Of
    Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Laura E. Pohlman April 2016 © 2016 Laura E. Pohlman. All Rights Reserved. 2 This thesis titled Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film by LAURA E. POHLMAN has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 Abstract LAURA E. POHLMAN, M.A., April 2016, Film Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film Director of Thesis: Ofer Eliaz The purpose of this thesis is to elucidate the fluid conception of fat women within contemporary American culture from the early 1970s to the present. Due to their non- normative embodiment, fat women typically face denigration and marginalization. Most mainstream film narratives reify the negative social positioning of fat women, often through assimilationist characters that resign themselves to fatphobia or otherwise compensate for their fatness. On the flipside, carnival and camp narratives foster liberatory fat characterization, as exemplified by the figure of “the unruly woman.” In his portrayal of both assimilationist and liberationist women, Divine functions as a barometer for subsequent fat characterization. Overall, this thesis critiques fat assimilation, argues for the importance of fat liberation, and projects a future where fat acceptance becomes the norm. 4 Table of Contents Page Abstract ..............................................................................................................................
    [Show full text]
  • The Gay Revolution and the Pink Flamingos Bachelor’S Diploma Thesis
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Jiří Vrbas The Gay Revolution and the Pink Flamingos Bachelor’s Diploma Thesis Supervisor: doc. Michael Matthew Kaylor, PhD. 2016 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ………………………………………………. 2 “I thank God I was raised Catholic, so sex will always be dirty.” (John Waters) Acknowledgement I would like to thank my supervisor doc. Michael Matthew Kaylor, PhD, for his help and for making me believe in this topic. I would also like to thank him and Jeffrey Alan Vanderziel, BA, alike for their Gay Studies course. Knowledge acquired in their class provided the necessary background for this analysis. 3 Table of Contents Introduction ..................................................................................................................... 5 I. Being Gay in the Past .................................................................................................. 7 I.1. 18th Century Europe ................................................................................................ 7 I.2. The Early 20th Century USA .................................................................................. 9 I.3. The 1950s USA .................................................................................................... 14 II. Early Gay Rights Activism ....................................................................................
    [Show full text]
  • Tantalising Glimpses: a LADA Study Room Guide on Fat Charlotte Cooper
    Tantalising Glimpses: A LADA Study Room Guide on Fat Charlotte Cooper LADA Study Room Guides As part of the continuous development of the Study Room we regularly commission artists and thinkers to write personal Study Room Guides on specific themes. The idea is to help navigate Study Room users through the resource, enable them to experience the materials in a new way and highlight materials that they may not have otherwise come across. All Study Room Guides are available to view in our Study Room, or can be viewed and/or downloaded directly from their Study Room catalogue entry. Please note that materials in the Study Room are continually being acquired and updated. For details of related titles acquired since the publication of this Guide search the online Study Room catalogue with relevant keywords and use the advance search function to further search by category and date. Cover Image: Matthew See from the Fattylympics in 2012 depicting a non- competitive event called Spitting on the BMI Chart. You can find out more in Charlotte's book: Fat Activism: A Radical Social Movement. Cover Design: Ben Harris, 2020 Tantalising Glimpses: A LADA Study Room Guide on Fat Charlotte Cooper Contents • Introduction o About Me o Why I Love the Study Room o How I came to write this Study Room Guide o Assumptions and Limitations o Language § Jargon • Background o Five reasons why Live Artists should care about fat o Why fat Live Art is hard to find o Navigating the Study Room if you are fat • Suggested Reading and Viewing o Activism o Ambiguity o Clubbers o Contemporaries o Fatphobia o Fodder o Founding Figures o Invisibility o Other Study Room Guides and LADA publications o Tantalising Glimpses • The Missing Study Room • Last Word • Appendix Introduction Hello and welcome.
    [Show full text]
  • Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin
    Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin To cite this version: Benjamin Cattin. Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman). Education. 2020. hal-02962404 HAL Id: hal-02962404 https://hal-univ-fcomte.archives-ouvertes.fr/hal-02962404 Submitted on 9 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Mémoire de Master MEEF parcours anglais présenté par Benjamin Cattin. Sous la direction d’Adrienne Boutang (UFR SLHS, INSPE de Franche-Comté). Session de mai 2020. Table of contents Thanks p.3 Introduction p.4 I) (De)constructing gender p.7 1. Gender is artificial p.7 1.1. The social construction of gender p.7 1.2. The masquerade p.9 2. Devices for the subversion of gender p.10 2.1. Cross-dressing and drag p.10 2.2. Androgyny p.13 2.3. Camp p.14 II) Subverting through excess p.15 1.
    [Show full text]
  • Vente Aux Encheres Publiques Affiches De Cinema
    jean-claude renard commissaire-priseur expert judiciaire VENTE AUX ENCHERES PUBLIQUES AFFICHES DE CINEMA Mercredi 28 janvier A 17 h 30 CINEMA « GRAND ACTION » 5 rue des Ecoles 75005 PARIS Frais de vente en sus des enchères : 25 % TTC Liste et photographies visibles sur www.interencheres.com/75022 Catalogues sur demande Jean-Claude Renard, maison de ventes aux enchères publiques s.a.s, Société agréée en date du 20 décembre 2001, n°2001-025 / 28 rue beaubourg 75003 paris Tél : 01-42-72-03-65 Nouveau Mail : [email protected] "LES NERFS À VIF" (1962) de Jack Lee Thompson avec Robert Mitchum, et, 1 (Cape Fear) Gregory Peck. 70/120 Affiche Universal International. "EXODUS" (1960) de Otto Preminger avec Paul Newman, Eva Marie Saint, Peter Lawford. 2 Affiche dessinée par Saül Bass. United Artists. 70/120 "LES SEPT MERCENAIRES" (1960) de John Sturges avec Yul Brynner, et, 3 Steve Mac Queen. 70/120 Affiche United Artists. "LOVE" (1970) de Ken Russell avec Oliver Reed, Glenda Jackson, Alan Bates. 4 Affichette de Peter Weevers. United Artists. 30/60 "BARBARELLA" (1968) de Roger Vadim avec Jane Fonda, John Philip Law. 5 Affiche Films Paramount. 100/160 "QUOI DE NEUF PUSSYCAT?" (1965) de Clive Donner avec Peter Sellers, 6 Romy Schneider, Woody Allen etc … 60/120 Affiche de Siry. United Artists. "LA DÉESSE DE FEU" (1965) de Robert Day avec Ursula Andress, Christopher Lee, 7 Peter Cushing. 70/90 Production Hammer. Films MGM. Affiche de G. Allard. "DU SANG POUR DRACULA" (1974) de Andy Warhol et, Paul Morrissey avec Udo Kier, 8 Joe Dallessandro.
    [Show full text]
  • $5.00 Val Rehoboth Beach Film Society Publication
    $5.00 val Rehoboth beach Film Society Publication November ~ 2013 3 Table of Contents Table Inside: Film Guidance 3 Film Guidance A Word from the Governor 6 The Rehoboth Beach Independent Film Festival A Word from the Film Society President 8 screens films of artistic merit from around the A Word from the Executive Director 9 world. Many of these films have not been rated A Word from the Festival Program Director 9by the Motion Picture Association of America Sponsor Appreciation 12-13 (MPAA) and may contain material not suitable for About the Film Society 14 minors. In an effort to provide as much information Step-by-Step Guide to the Festival 16-17 as possible for viewers, the RBFS has created a guidance system that can be used as part of the film Ticket Order Forms 18 selection process. Codes were assigned to films, Film Schedule 20-21 when applicable, to the best of the Film Society’s Film Index 22 ability. Film viewers and parents of minors, are Film Planner 23-24 strongly encouraged to read the movie descriptions About the Cover 26 and codes, and to use individual discretion when Features 30-56 selecting films for viewing. Classic German Cinema 57 Documentaries 62-68 Guidance Codes: Shorts 72-77 Regional Showcase 82-85 = may contain some offensive language Seminars 90-92 Country Spotlight - Germany 95 = may contain lesbian/gay orientation Live in the Lounge 96-97 Fierberg Award 100 More Film Society Programs 102-103 = may contain some nudity Film Society Members 104-105 Film Society Contributors 106 = may contain some sexual content Our Thanks 107 Comment Form 108 Membership Information 109 = may contain some violence Guide to Advertisers 110-111 Notes 112 Film Selection It is the practice of the Rehoboth Beach Film Society, as the producer of the Rehoboth Beach Independent Film Festival, to program a selection of films that represents a moderate balance of diversity, genre, focal issues, and demographics.
    [Show full text]
  • Primary & Secondary Sources
    Primary & Secondary Sources Brands & Products Agencies & Clients Media & Content Influencers & Licensees Organizations & Associations Government & Education Research & Data Multicultural Media Forecast 2019: Primary & Secondary Sources COPYRIGHT U.S. Multicultural Media Forecast 2019 Exclusive market research & strategic intelligence from PQ Media – Intelligent data for smarter business decisions In partnership with the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers Co-authored at PQM by: Patrick Quinn – President & CEO Leo Kivijarv, PhD – EVP & Research Director Editorial Support at AIMM by: Bill Duggan – Group Executive Vice President, ANA Claudine Waite – Director, Content Marketing, Committees & Conferences, ANA Carlos Santiago – President & Chief Strategist, Santiago Solutions Group Except by express prior written permission from PQ Media LLC or the Association of National Advertisers, no part of this work may be copied or publicly distributed, displayed or disseminated by any means of publication or communication now known or developed hereafter, including in or by any: (i) directory or compilation or other printed publication; (ii) information storage or retrieval system; (iii) electronic device, including any analog or digital visual or audiovisual device or product. PQ Media and the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers will protect and defend their copyright and all their other rights in this publication, including under the laws of copyright, misappropriation, trade secrets and unfair competition. All information and data contained in this report is obtained by PQ Media from sources that PQ Media believes to be accurate and reliable. However, errors and omissions in this report may result from human error and malfunctions in electronic conversion and transmission of textual and numeric data.
    [Show full text]
  • Universidad Católica Andrés Bello Facultad De Humanidades Y Educación Escuela De Comunicación Social Mención Artes Audiovisuales Trabajo De Grado
    UNIVERSIDAD CATÓLICA ANDRÉS BELLO FACULTAD DE HUMANIDADES Y EDUCACIÓN ESCUELA DE COMUNICACIÓN SOCIAL MENCIÓN ARTES AUDIOVISUALES TRABAJO DE GRADO GALA ARANGUREN DUARTE, Albelys Alejandra CASTILLO TOLEDO, Estefania Alexandra MILANO PÉREZ, Betania Claret Tutor: LARA CAMPOS, Ricardo Caracas, abril 2017 Formato G: Planilla de evaluación Fecha: _______________ Escuela de Comunicación Social Universidad Católica Andrés Bello En nuestro carácter de Jurado Examinador del Trabajo de Grado titulado: _______________________________________________________________ __________________________________________________________________ __________________________________________________________________ dejamos constancia de que una vez revisado y sometido éste a presentación y evaluación, se le otorga la siguiente calificación: Calificación Final: En números _________ En letras:_____________________ Observaciones______________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Nombre: _______________ __________________ _______________ Presidente del Jurado Tutor Jurado Firma: _______________ __________________ __________________ Presidente del Jurado Tutor Jurado A nuestra familia que son un claro ejemplo de superación, esfuerzo y dedicación. Gracias por apoyarnos y creer en nosotras. 3 AGRADECIMIENTOS
    [Show full text]
  • Placeres Grotescos: Estéticas 'Trash'
    UNIVERSITAT JAUME I FACULTAD DE CIENCIAS HUMANAS Y SOCIALES INSTITUTO UNIVERSITARIO DE ESTUDIOS FEMINISTAS Y DE GÉNERO “PURIFICACIÓN ESCRIBANO” MÁSTER UNIVERSITARIO EN INVESTIGACIÓN APLICADA EN ESTUDIOS FEMINISTAS, DE GÉNERO Y CIUDADANÍA PLACERES GROTESCOS: ESTÉTICAS ‘TRASH’ COMO HERRAMIENTAS DE SUBVERSIÓN AL CANON HETEROPATRIARCAL EN EL CINE NORTEAMERICANO DE LOS ’60 Y ‘70 TRABAJO FIN DE MÁSTER Presentado por: Adriana García García- Arquimbau Dirigido por: Manolo Dos Ramos Universitat Jaume I – 2017 RESUMEN Como algunos filósofos cercanos al marxismo afirman, el cine puede leerse como un “aparato ideológico del estado” a través del cual se reproduce y legitima una ideología que naturaliza la hegemonía vigente sustentada en el orden patriarcal. En las décadas de los ’60 y ’70 y amparada en los “cultural studies” la crítica fílmica feminista argumentaría cómo las películas representativas del Hollywood clásico establecían un tipo de mirada hecha para el disfrute de la masculinidad hegemónica a costa de la cosificación y banalización de las mujeres e invisibilización de otras identidades sexuales. Uno de los mecanismos de dominación pasaría por estandarizar un canon –en realidad patriarcal y androcéntrico- como universal y exponente del buen gusto así como de la calidad cinematográfica. Por ello, muchos jóvenes críticos con el sistema idearían y usarían diferentes estéticas para criticar la mirada masculina. Ello lo harían utilizando deliberadamente unas sensibilidades -basadas políticamente en el "mal gusto”- que se leerían como herramientas subversivas al canon estético androcéntrico. De esta forma se produjeron muchísimas películas cuyos personajes desafiaban el sistema heteropatriarcal a través de feminidades agresivas, personajes trans o intersexuales o mujeres grotescas claramente alejadas de la contención.
    [Show full text]
  • Glbtq Revivals and Classics
    5 W. North Ave. Baltimore, MD 21201 Phone: 443-438-6144 FRIDAY JUNE 16 – THURSDAY JUNE 22 CELEBRATING PRIDE ALL WEEK! Check mdfilmfest.com for showtimes! Tickets $10/$8 members EMERGING FILMS One of our primary missions at the Parkway is to give a year-round home to the kinds of work we champion during the annual Maryland Film Festival: visionary independent films from emerging voices, as well as the latest works from international mavericks and masters! KIKI Sara Jordenö, USA, 2017, 94 minutes A dynamic coming-of-age story about resilience and the transformative art form that is voguing. Kiki offers riveting and complex insight into the daily lives of a group of LGBTQ youth-of-color who comprise the “Kiki” scene, a vibrant, safe space for per- formance created and governed by these activists. “Explodes with energy”–Variety… “a group of brave and beautiful souls”–The New York Times… “exuberant and alive, and never despairing.”–Los Angeles Times Screening all week! Check www.mdfilmfest.com for showtimes! THE ORNITHOLOGIST João Pedro Rodrigues, Brazil/Portugal, 2016, 117 minutes As he treks through the north of Portugal in search of rare birds, Fernando is swept away by the river rapids. Rescued by a couple of Chinese pilgrims, he tries to find his way back home through the eerie, dark forests, where uncanny encounters put him to the test. He soon becomes a different man, inspired, perhaps even enlightened. “You can depend on a João Pedro Rodrigues movie to give you a real eyeful. The Portuguese filmmaker’s erotic phantasmagorias offer
    [Show full text]