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A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture
Cinema of the Self: A Theory of Cinematic Selfhood & Practices of Neoliberal Portraiture Milosz Paul Rosinski Trinity Hall, University of Cambridge June 2017 This dissertation is submitted for the degree of Doctor of Philosophy Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. The dissertation is formatted in accordance to the Modern Humanities Research Association (MHRA) style. This dissertation does not exceed the word limit of 80,000 words (as specified by the Modern and Medieval Languages Degree Committee). Summary This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Perceptual Realism and Embodied Experience in the Travelogue Genre
Athens Journal of Mass Media and Communications- Volume 3, Issue 3 – Pages 229-258 Perceptual Realism and Embodied Experience in the Travelogue Genre By Perla Carrillo Quiroga This paper draws two lines of analysis. On the one hand it discusses the history of the This paper draws two lines of analysis. On the one hand it discusses the history of the travelogue genre while drawing a parallel with a Bazanian teleology of cinematic realism. On the other, it incorporates phenomenological approaches with neuroscience’s discovery of mirror neurons and an embodied simulation mechanism in order to reflect upon the techniques and cinematic styles of the travelogue genre. In this article I discuss the travelogue film genre through a phenomenological approach to film studies. First I trace the history of the travelogue film by distinguishing three main categories, each one ascribed to a particular form of realism. The hyper-realistic travelogue, which is related to a perceptual form of realism; the first person travelogue, associated with realism as authenticity; and the travelogue as a traditional documentary which is related to a factual form of realism. I then discuss how these categories relate to Andre Bazin’s ideas on realism through notions such as montage, duration, the long take and his "myth of total cinema". I discuss the concept of perceptual realism as a key style in the travelogue genre evident in the use of extra-filmic technologies which have attempted to bring the spectator’s body closer into an immersion into filmic space by simulating the physical and sensorial experience of travelling. -
Transformations of Queer Iberian Cinema a Dissertation SUBMITTED
Living and Dying for the Plural: Transformations of Queer Iberian Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Scott Michael Ehrenburg IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisers: William Viestenz & Ofelia Ferrán March 2017 © Scott Michael Ehrenburg 2017 Acknowledgements This dissertation would not have been realized without the help of so many wonderful people. First and foremost, I would like to thank my advisors, Bill Viestenz and Ofelia Ferrán, for serving as encouraging, deliberate, and thoughtful interlocutors throughout my time in graduate school. I sincerely thank Nicholas Spadaccini for his committement to mentoring me about the profession as well as allowing me to serve as a member of the Hispanic Issues team. I am grateful to Jigna Desai for being so generous with her time in helping shape my work in a way that truly crosses disciplinary divides. I would also like to acknowledge the sustained funding by the Department of Spanish and Portugese Studies, particulary during the summer months, which was vital for my timely progress toward degree. I am thankful for being the recpient of Hella Mears Fellowship for German and European Studies, which provided generous funding needed for me to complete this dissertation. I must recognize all of my teachers, professors, and instructors throughout the years. All of you have informed the kind of educator I have become and will continue to be. Thank you so much, Katie Levin and the Center for Writing! You provided me with hundreds of hours of non-judgmental support in a space that was safe and comfortable. -
Maria Sofia Pimentel Biscaia Leituras Dialógicas Do Grotesco: Dialogical
Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Universidade de Aveiro Departamento de Línguas e Culturas 2005 Maria Sofia Pimentel Leituras Dialógicas do Grotesco: Biscaia Textos Contemporâneos do Excesso Dialogical Readings of the Grotesque: Texts of Contemporary Excess Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Literatura, realizada sob a orientação científica do Doutor Kenneth David Callahan, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro e da Doutora Maria Aline Salgueiro Seabra Ferreira, Professora Associada do Departamento de Línguas e Culturas da Universidade de Aveiro o júri Presidente Prof. Doutor José Carlos da Silva Neves Professor Catedrático da Universidade de Aveiro Prof. Doutor Mário Carlos Fernandes Avelar Professor Associado com Agregação da Universidade Aberta Profª. Doutora Ana Gabriela Vilela Pereira de Macedo Professora Associada da Universidade do Minho Prof. Doutor Anthony David Barker Professor Associado da Universidade de Aveiro Profª. Doutora Maria Aline Salgueiro Seabra Ferreira Professora Associada da Universidade de Aveiro Prof. Doutor Kenneth David Callahan Professor Associado da Universidade de Aveiro Profª. Doutora Adriana Alves de Paula Martins Professora Auxiliar da Universidade Católica Portuguesa - Viseu Agradecimentos A elaboração desta dissertação foi possível graças ao apoio financeiro da FCT e do FSE, no âmbito do III Quadro Comunitário. As condições de acolhimento proporcionadas pelo Departamento de Línguas e Culturas e pelo Centro de Línguas e Culturas foram essenciais para o cumprimento atempado do projecto. -
V. V. Vladimirsky and Charged-Particle Accelerators
Physics of Atomic Nuclei, Vol. 68, No. 8, 2005, pp. 1263–1264. Translated from Yadernaya Fizika, Vol. 68, No. 8, 2005, pp. 1315–1317. Original Russian Text Copyright c 2005 by Koshkarev. TRIBUTE TO THE 90th BIRTHDAY OF V.V. VLADIMIRSKY V. V. Vladimirsky and Charged-Particle Accelerators D. G. Koshkarev* Institute of Theoretical and Experimental Physics, Bol’shaya Cheremushkinskaya ul. 25, Moscow, 117259 Russia Received February 28, 2005 Abstract—The main advances made in the field of accelerator science and technology at the Institute of Theoretical and Experimental Physics (ITEP,Moscow) within the ten years between 1953 and 1963 under the supervision of V.V. Vladimirsky and with his participation are described. c 2005 Pleiades Publish- ing, Inc. The proposal of E. Courant, M. Livingston, and on a residual vacuum in it, and imposing more strin- H. Snyder (1952) that concerned the creation of gent requirements on the nonlinear components of strongly focusing accelerators changed radically the the magnetic field. In order to solve these and other situation around the construction of high-energy ac- problems, Vladimirsky was able to organize a small celerators and, hence, in high-energy physics. How- group of researchers at ITEPwithin a short period of ever, this proposal was perceived rather ambiguously time, which included L.L. Gol’din, D.G. Koshkarev, in the Soviet Union. Some of the renowned authori- Yu.F. Orlov, and E.K. Tarasov as the main partici- ties on accelerator physics called attention to extraor- pants; I.M. Kapchinsky joined the group later. They dinarily stringent tolerances on magnetic elements in solved these problems successfully, and this permitted these accelerators and, in view of this, denied the pos- preparing physics projects of strongly focusing proton sibility of implementing this project in practice. -
May 2019 Digital
MAY 2019 80 YEARS OF CINEMA MAY 2019 MAY GLASGOWFILM.ORG | 0141 332 6535 CINEMASTERS: HIROKAZU KORE-EDA | ITALIAN FILM FESTIVAL | HIGH LIFE 12 ROSE STREET, GLASGOW, G3 6RB WOMAN AT WAR | TOLKIEN | VOX LUX | FINAL ASCENT | AMAZING GRACE CONTENTS Access Film Club: Eighth Grade 20 Nobody Knows 9 The Straight Story - 35mm 8 Amazing Grace 13 Shoplifters 10 MOVIE MEMORIES Arctic 14 Still Walking 9 Rebecca 19 Ash Is Purest White 15 CINEMASTERS: Rebel Without a Cause 19 Beats 14 STANLEY KUBRICK SCOTTISH MENTAL HEALTH Birds of Passage 14 2001: A Space Odyssey 10 ARTS FESTIVAL Dead Good 5 Dr Strangelove or: How I Learned to 10 Evelyn + Skype Q&A 8 Stop Worrying and Love the Bomb Donbass 15 Irene’s Ghost + Q&A 8 13 Full Metal Jacket 10 Eighth Grade SPECIAL EVENTS Final Ascent 13 EVENT CINEMA Asbury Park: 6 Have You Seen My Movie? 13 Bolshoi Ballet: Carmen Suite/Petrushka 18 Riot, Redemption, Rock ‘n’ Roll High Life 14 Margaret Atwood: Live in Cinemas 18 Cléo from 5 to 7 6 The Keeper 15 NT Live: All My Sons 18 Crossing the Line: Al Ghorba: 6 Madeline’s Madeline 14 NT Live Encore: One Man, Two Guvnors 18 Be:Longing in Britain The Thing 14 NT Live: The Lehman Trilogy 18 Dead Good + Q&A 5 Tolkien 15 NT Live: Small Island 18 Inquiring Nuns + Skype Q&A 7 Neither Wolf Nor Dog + Q&A 7 @glasgowfilm Too Late to Die Young 15 ITALIAN FILM FESTIVAL Visible Cinema: Edie 20 Capri-Revolution 11 Preview: Freedom Fields + Q&A 6 Vox Lux 13 The Conformist 11 Preview: In Fabric + Q&A 7 Woman at War 13 Daughter of Mine 12 Preview: Sunset - 35mm + Q&A 5 XY Chelsea 15 -
Truth, Lies, and Videotape: Documentary Film and Issues of Morality U2 Linc Course: Interdisciplinary Studies 290 Fall 2007, T/TH 12:45-3:15
Truth, Lies, and Videotape: Documentary Film and Issues of Morality U2 LinC Course: Interdisciplinary Studies 290 Fall 2007, T/TH 12:45-3:15 Instructor: Krista (Steinke) Finch Office: Art Office/ studio room 103 Office Hours: M, T, TH, W 11:30-12:30 or by appointment Phone: 861-1675 (art office) Email: [email protected] ***Please note that email is the best way to communicate with me COURSE DESCRIPTION: This course will explore issues of morality in documentary film as well provide a conceptual overview of the forms, strategies, structures and conventions of documentary film practice. Filmmaking is a universal language which has proven to be a powerful tool of communication for fostering understanding and change. For this course, students will study the history and theory of the documentary film and its relationship to topics and arguments about the social world. Students will be introduced to theoretical frameworks in ethics and media theory as a means to interpret and reflect upon issues presented in documentary film. Weekly screenings and readings will set the focus for debate and discussion on these specific issues. Students will also work in small groups to create short documentary films on particular subject of their own concern. Through hands on experience, students will learn the basics in planning, producing, and editing a documentary film while gaining an in depth insight into a particular issue through extensive research and exploration. The semester will culminate with a public presentation of the documentary films created during the course at the 2006 Student Film Festival in late April. GOALS: Students will: • understand the history of documentary film and be able to critically address media related arts in relationship to societal issues. -
Films Beget Digital Media
FROM: Marsha Kinder and Tara McPherson, eds. Transmedia Frictions: The Digital, The Arts, and the Humanities. UC Press: 2014. FILMS BEGET DIGITAL MEDIA Stephen Mamber Two major documentary strands, the compilation and the autobiographical, have been taking hold in digital environments. The affi nities are strong enough to suggest that these two forms anticipate narrative capacities of new media formats in signifi cant ways. We will look at Chris Marker’s CD-ROM Immemory and the installation The Danube Exodus:The Rippling Currents of the River created by Péter Forgács and The Labyrinth Project, in order to explore the linkages from both sides of the seeming divide between old and new forms, the tendencies already present which have fl owered in the two works, and what they suggest about further possibilities for digital media. Those media artists who incorporate lost, amateur, personal, and/or decaying materi- als into their work are clearly implying an alternative—disappearance and forgetting. Such artists are already in league with the archives, libraries, and museums which are also often the sites for the presentation of their work. They are natural allies—institu- tions that collect and present pieces of the past become the source and also the exhibition space for artists who are essentially doing the same thing. While they may not always share common viewpoints on what constitutes suitable source material (i.e., what is worth preserving), the desire to reclaim histories, whether personal or national, and to recontextualize those materials within new frameworks is a strong common bond. Marker and Forgács have both been best known as fi lmmakers, but they have also ventured into digital media and works created especially for museum exhibition. -
VACAS Von Julio Médem Spanien 1991 35 Mm 91 Min. Omeu
COWS VACAS von Julio Médem Spanien 1991 35 mm 91 Min. OmeU Drehbuch: Julio Médem Buch: Michel Gaztambide Idee: Julio Médem Kamera: Carles Gusi Animation: Reyes Abades Schnitt: María Elena Sáinz de Rozas Musik: Alberto Iglesias Sound: Juan Alberto Arteche Produzent: Ricardo García Arrojo Produktion: Sogetel Idea Kontakt: Sogepaq Darsteller: Emma Suárez Carmelo Gómez Ana Torrent Karra Elejalde Klara Badiola Txema Blasco Kandido Uranga Pilar Bardem Miguel Ángel García Ane Sánchez Die Geschichte zweier baskischer Familien, die in Sichtweite voneinander in zwei Caserios Julio Médem erblickte 1958 in San Sebastian das Licht der Welt. (Bauernhöfen) leben und die trotz der geradezu idyllischen Abgeschiedenheit immer wieder Seine Liebe zum Film wurde schon früh durch Vaters Super-8- in die politischen Wirren der Carlistenkriege gezogen werden. Mal kommen die Franzosen, Kamera geweckt. Nachts drehte Julio seine ersten filmischen Ex- mal die Truppen des spanischen Königshauses, um junge Männer für Ihre Kriege zu rekru- perimente – mit seiner Schwester Ana in der Hauptrolle. Mit 18 tieren. Die Frauen bleiben mit den alten Männern und den Kindern zurück. Nebenbei erzählt Jahren ging er nach Soria, um Psychologie zu studieren und „die Médem auf der einen Seite von baskischen Traditionen wie dem Holzhacken und wie aus Not- dunklen Seiten des menschlichen Geistes zu erforschen“. Nach sei- wendigkeiten zuerst Wettbewerbe und dann aus Nachbarn Feinde werden (können). Auf der nem Studium drehte er weitere Kurzfilme und schrieb Drehbücher, anderen Seite stellt der Regisseur bereits in seinem Spielfilmdebüt die mystische Sichtweise bis die Firma Sogetel ihm den Auftrag für VACAS gab. Mit seinem der Menschen im Umgang mit der Natur in Form eines kleinen Wäldchens in den Mittelpunkt. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations
Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations Stoffel Debuysere Proefschrift voorgelegd tot het behalen van de graad van Doctor in de kunsten: audiovisuele kunsten Figures of Dissent Cinema of Politics / Politics of Cinema Selected Correspondences and Conversations Stoffel Debuysere Thesis submitted to obtain the degree of Doctor of Arts: Audiovisual Arts Academic year 2017- 2018 Doctorandus: Stoffel Debuysere Promotors: Prof. Dr. Steven Jacobs, Ghent University, Faculty of Arts and Philosophy Dr. An van. Dienderen, University College Ghent School of Arts Editor: Rebecca Jane Arthur Layout: Gunther Fobe Cover design: Gitte Callaert Cover image: Charles Burnett, Killer of Sheep (1977). Courtesy of Charles Burnett and Milestone Films. This manuscript partly came about in the framework of the research project Figures of Dissent (KASK / University College Ghent School of Arts, 2012-2016). Research financed by the Arts Research Fund of the University College Ghent. This publication would not have been the same without the support and generosity of Evan Calder Williams, Barry Esson, Mohanad Yaqubi, Ricardo Matos Cabo, Sarah Vanhee, Christina Stuhlberger, Rebecca Jane Arthur, Herman Asselberghs, Steven Jacobs, Pieter Van Bogaert, An van. Dienderen, Daniel Biltereyst, Katrien Vuylsteke Vanfleteren, Gunther Fobe, Aurelie Daems, Pieter-Paul Mortier, Marie Logie, Andrea Cinel, Celine Brouwez, Xavier Garcia-Bardon, Elias Grootaers, Gerard-Jan Claes, Sabzian, Britt Hatzius, Johan Debuysere, Christa