DOCSLIB.ORG

{PDF} Contemporary American Independent Film 1St Edition Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF} Contemporary American Independent Film 1St Edition Ebook CONTEMPORARY AMERICAN INDEPENDENT FILM 1ST EDITION PDF, EPUB, EBOOK Christine Holmlund | 9781134576210 | | | | | Contemporary American Independent Film 1st edition PDF Book The personal computer and non-linear editing system have taken away the use of editing stands such as the KEM, dramatically reducing the costs of post-production, while technologies such as DVD , Blu-ray Disc and online video services have simplified distribution; video streaming services have made it possible to distribute a digital version of a film to an entire country or even the world, without involving shipping or warehousing of physical DVDs or film reels. However, having a film audience-classified is strictly voluntary for independents and there's no legal impediment to releasing movies on an unrated basis. Provocative, opinionated and a little crazy. At once imaginative myth-making and insightful, demystifying critical essay. The founding work of so-called Screen theory — which is where I came in, although it has now left me behind, or me it — is still a pretty enjoyable read today. Join and support. A bizarre concoction it undoubtedly is, but Donnie Darko raised the bar for independent thinking and reinvented the teen genre for the new Millennium. As a postgrad studying aesthetics, I was enthralled to find an English-language philosopher who understood cinema! SIU Press books. Already veterans of Hollywood, the four film stars began to talk of forming their own company to better control their own work as well as their futures. Clerks was quickly picked up by Miramax chief Harvey Weinstein, who overlooked its dodgy production values, ropey acting and a story that resists the description 'threadbare' because he saw a raw vitality in its balls-out dialogue; a vitality and spirit and, more importantly, laugh-out-loud humour that ensured that Clerks connected instantly with disenfranchised tweens and shop workers everywhere. Accurate pricing will only display for registered users. Unlike the films made within the studio system, these new low-budget films could afford to take risks and explore new artistic territory outside the classical Hollywood narrative. She is working on a book on action films. Founded in by Jonas Mekas , Stan Brakhage , Shirley Clarke , Gregory Markopoulos , and others, the Cooperative provided an important outlet for many of cinema's creative luminaries in the s, including Jack Smith and Andy Warhol. Few people have done so much to revive interest in silent cinema and none has written so well about it as Brownlow. This was the question we asked 51 leading critics and writers, and their answers are printed here in full. Based upon a common belief that the "official cinema" was "running out of breath" and had become "morally corrupt, aesthetically obsolete, thematically superficial, [and] temperamentally boring", [9] this new crop of independents formed The Film-Makers' Cooperative , an artist-run, non-profit organization which they would use to distribute their films through a centralized archive. Over the years this little volume must surely have been the Bible for many of us. Was Donnie schizophrenic? I loved his willingness to find excitement in unexpected places, to do justice to merit when he found it and to write in such a strongly personal voice. Dutton, Showing a whole generation of black filmmakers the way forward, the guerrilla filmmaking and canny marketing campaign also provide pointers for every no-budget filmmaker following in its wake. Like most people in the unique position of foreknowledge of what others have said, I have avoided the choices that now seem obvious in this survey. A strange mixture of seedy violence, frank nudity and the sort of language you'd expect to hear from gangsters in New York's Little Italy, the film is nonetheless drenched in a veil of Catholic guilt lead Harvey Keitel, as Charlie, a small-time hood who knows that he should get the hell out of the game, constantly chastises and tests himself and seems to act as a permanent celluloid confessional for Scorsese's baser instincts. The film was almost entirely improvised by the three leads who were often just as terrified as the audience and initially passed off as a documentary, a ruse given credence by an entirely fictitious web-based backstory and a much-aped viral marketing strategy. By the early s, Hollywood was producing three different classes of films: 1 big-budget blockbusters , 2 art films , specialty films and niche-market films produced by the conglomerate-owned indies and 3 genre and specialty films coming from true indie studios and producers. Has anyone ever written this beautifully about Dovzhenko, Renoir or Straub-Huillet? Levine and others. This was the question we asked 51 leading critics and writers and the results Before there was Star Wars, George Lucas made this dystopian vision of a future in a galaxy quite close by. The resulting film is an absolute joy, an endearing, beautiful indie that manages to discuss abortion in a frank and balanced way while its whipcrack dialogue zinged zang? It's entirely impossible to sum up in any thirty-second studio pitch. It turns up the old mental rheostat every time. You only have to look through the homages and rip-offs that have abounded. Contemporary American Independent Film 1st edition Writer Two exemplary ways of making sense of a national film culture: the first is an encyclopedia that invites the seeker to find his or her own way through a labyrinth of myriad relationships; the second offers creative criss-cross readings of topoi and obsessions through various decades, genres and political systems. While there, the company decided to explore new territories, traveling several miles north to Hollywood , a little village that was friendly and positive about the movie company filming there. However, by the late s, audience share was dwindling at an alarming rate. The s and early s saw a Hollywood dominated by musicals, historical epics, and other films which benefited from these advances. Read research data and market intelligence. Crowdfunding services like Kickstarter, Pozible, and Tubestart have helped people raise thousands of dollars; enough to fund their own, low-budget productions. The result? It's entirely impossible to sum up in any thirty-second studio pitch. The story of Henry G. His familiar theme of contemporary America under the burden of its own glossed-over history is folded into a murder mystery ensemble piece, spanning two Texan generations, and utilising some of the best flashbacks ever seen. Though Midnight Cowboy was financed by United Artists, the company was certainly a studio. The Independent film industry exists globally. Tarkovsky is my all-time favourite director. By , Griffith had dropped out and the company was facing a crisis: either bring in others to help support a costly distribution system or concede defeat. Spaced: The Complete History. However, no one else was doing these interviews. Thirteen years on, many of the interviewees have died. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. After first swallowing Bazin whole, I turned against his Catholic humanism, but I find myself returning to him almost every week to check something, to argue with him, and often to agree. The Hollywood oligopoly replaced the Edison monopoly. Already veterans of Hollywood, the four film stars began to talk of forming their own company to better control their own work as well as their futures. It was written over 30 years ago, yet remains the most lucid and critically coherent account of American avant-garde film. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of performers Blanche Sweet , Lillian Gish , Mary Pickford , Lionel Barrymore , and others. This was the volume that made a god awful hour greyhound bus trip to New York seem bearable — in fact, time well spent. However, having a film audience-classified is strictly voluntary for independents and there's no legal impediment to releasing movies on an unrated basis. Learning and training. The acquisitions of the smaller studios by conglomerate Hollywood was a plan in part to take over the independent film industry and at the same time start independent studios of their own. In which the French critic says it all and shows us that further Bergman books must lie in new detail or a broader window on the film world. Hart a year earlier as they were traveling around the U. A thrilling confection of passionate advocacy, youthful extremism, ardent love and lofty disdain. The story, built around the actual events of the Matewan massacre of , follows pacifist union organiser Joe Kenehan Chris Cooper arriving in the West Virginian town under the iron fist of brutal coal companies. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. It's also the movie without which the recent zombie revival would never have happened. With their unprecedented box-office successes, these movies jump- started Hollywood's blockbuster mentality , giving studios a new paradigm as to how to make money in this changing commercial landscape. This roll of honour celebrates both, as well as some of the names that didn't achieve the acclaim they deserve. This film was released just after the abandonment of the production code, but before the adoption of the MPAA rating system. Contemporary American Independent Film 1st edition Reviews Here I have to declare an interest, in both senses: an enduring love of the Western, and a role in editing the much-expanded second edition of Inspired only by the concept for its poster five guys in a line-up , the Christopher McQuarrie-penned heist thriller is an ensemble tour de force and, lest we forget, the starting pistol for both Bryan Singer and Kevin Spacey's careers in the big time.
Load more

Recommended publications
  • Silent Films of Alfred Hitchcock
    The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • THE ANIMATED TRAMP Charlie Chaplin's Influence on American
    THE ANIMATED TRAMP Charlie Chaplin’s Influence on American Animation By Nancy Beiman SLIDE 1: Joe Grant trading card of Chaplin and Mickey Mouse Charles Chaplin became an international star concurrently with the birth and development of the animated cartoon. His influence on the animation medium was immense and continues to this day. I will discuss how American character animators, past and present, have been inspired by Chaplin’s work. HISTORICAL BACKGROUND (SLIDE 2) Jeffrey Vance described Chaplin as “the pioneer subject of today’s modern multimedia marketing and merchandising tactics”, 1 “(SLIDE 3). Charlie Chaplin” comic strips began in 1915 and it was a short step from comic strips to animation. (SLIDE 4) One of two animated Chaplin series was produced by Otto Messmer and Pat Sullivan Studios in 1918-19. 2 Immediately after completing the Chaplin cartoons, (SLIDE 5) Otto Messmer created Felix the Cat who was, by 1925, the most popular animated character in America. Messmer, by his own admission, based Felix’s timing and distinctive pantomime acting on Chaplin’s. 3 But no other animators of the time followed Messmer’s lead. (SLIDE 6) Animator Shamus Culhane wrote that “Right through the transition from silent films to sound cartoons none of the producers of animation paid the slightest attention to… improvements in the quality of live action comedy. Trapped by the belief that animated cartoons should be a kind of moving comic strip, all the producers, (including Walt Disney) continued to turn out films that consisted of a loose story line that supported a group of slapstick gags which were often only vaguely related to the plot….The most astonishing thing is that Walt Disney took so long to decide to break the narrow confines of slapstick, because for several decades Chaplin, Lloyd and Keaton had demonstrated the superiority of good pantomime.” 4 1 Jeffrey Vance, CHAPLIN: GENIUS OF THE CINEMA, p.
    [Show full text]
  • Drawn to Sound
    Introduction ix About the Authors Rebecca Coyle teaches in the Media Program at Southern Cross University, Australia, and has edited two anthologies on Australian cinema soundtracks, Screen Scores (1998) and Reel Tracks (2005). She is currently researching film music production within an Australian Research Council funded project, is Research Director for the School of Arts and Social Sciences, and has recently edited a special issue of Animation Journal (published 2009). Jon Fitzgerald teaches in the contemporary music programme at Southern Cross University, Australia. He has previously written on a variety of musical and screen sound topics and he is the author of Popular Music Theory and Musicianship (1999/2003). He is also an experienced performer and composer. Daniel Goldmark is Associate Professor of music at Case Western Reserve University in Cleveland, Ohio. He is the series editor of the Oxford Music/Media Series, and is the author and/or editor of several books on animation, film, and music, including Tunes for ’Toons: Music and the Hollywood Cartoon (2005). Janet K. HalfJanet Halfyaryaryarddd is Director of Undergraduate Studies at Birmingham City University Conservatoire. Her publications include Danny Elfman’s Batman: A Film Score Guide (2004), an edited volume on Luciano Berio’s Sequenzas (2007), and a wide range of essays on music in film and cult televison. Philip Haywarddd is Director of Research Training at Southern Cross University, Aus- tralia and an adjunct professor in the Department of Media, Music and Cultural Studies at Macquarie University, Sydney. His previous screen sound books include Off the Planet: Music, Sound and Science Fiction Cinema (2005) and Terror Tracks: Music, Sound and Horror Cinema (2009).
    [Show full text]
  • Film Culture in Transition
    FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.
    [Show full text]
  • Silent Film Music and the Theatre Organ Thomas J. Mathiesen
    Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili­ tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country.
    [Show full text]
  • Monumental Melodrama: Mikhail Kalatozov’S Retrospective Return to 1920S Agitprop Cinema in I Am Cuba Tim Harte Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Russian Faculty Research and Scholarship Russian 2013 Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba Tim Harte Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/russian_pubs Part of the Film and Media Studies Commons Custom Citation Harte, Tim. "Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba." Anuari de filologia. Llengües i literatures modernes 3 (2013) 1-12. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/russian_pubs/2 For more information, please contact [email protected]. Tim Harte Bryn Mawr College “Monumental Melodrama: Mikhail Kalatozov’s Retrospective Return to 1920s Agitprop Cinema in I Am Cuba ” October 2013 Few artists have bridged the large thirty-year divide between the early Soviet avant-garde period of the 1920s and the post-Stalinist Thaw of the late 1950s and early 1960s like the filmmaker Mikhail Kalatozov. Thriving in these two periods of relative artistic freedom and innovation for Soviet culture, the Georgian-born Kalatozov—originally Kalatozishvili— creatively merged the ideological with the kinesthetic, first through his constructivist-inspired silent work and then through his celebrated Thaw-era films. Having participated in the bold experiment that was early Soviet cinema, Kalatozov subsequently maintained some semblance of cinematic productivity under Stalinism; but then in the late 1950s he suddenly transformed himself and his cinematic vision.
    [Show full text]
  • FILM STUDIES COMPONENT 2 Silent Cinema Student Resource CASE STUDY: SUNRISE (MURNAU, 1927) Silent Cinema Student Resource Case Study: Sunrise (Murnau, 1927)
    GCE A LEVEL WJEC Eduqas GCE A LEVEL in FILM STUDIES COMPONENT 2 Silent Cinema Student Resource CASE STUDY: SUNRISE (MURNAU, 1927) Silent Cinema Student Resource Case Study: Sunrise (Murnau, 1927) Sunrise exemplifies filmmaking at its artistic peak during the late silent period. Director F.W. Murnau used every device available to filmmakers at the time to produce a lyrical, artistic and timeless love story. Sight and Sound magazine voted Sunrise the fifth greatest film ever made in their 2017 Greatest Films poll. The film is hailed by critics as a masterpiece. Martin Scorsese described the film as a “super-production, an experimental film and a visionary poem”. Sunrise was directed by German director F.W. Murnau as a ‘prestige picture’ for Fox studios. Although Sunrise is a silent film, it was produced with a synchronised score and released just weeks before the first ‘talkie’,The Jazz Singer. In this regard, it is a hybrid between a silent and sound film. Its unique context, as a German Expressionist film produced for a Hollywood studio and as a hybrid silent and sound film, ensures it is a fascinating film to study. Task 1: Contexts – before the screening It is likely that you will have little awareness of German cinema of the 1920s or the production contexts of Sunrise. This exercise will enable you to contextualise the film and guide your expectations before the screening. In small groups, you will be given an aspect of the film’s context to research. You will feed back to the group in the form of a short presentation or a handout.
    [Show full text]
  • Practice” and “Studies” Courses
    VMS Concentration in Cinematic Arts Approved “Practice” and “Studies” Courses The VMS Concentration in Cinematic Arts requires that students complete at least four (4) courses in cinematic arts practice and at least two (2) courses in film/media studies. This document outlines the specific courses that can be pursued to fulfill these two requirements. “Practice” Courses (at least 4 courses required) VMS 106S The Documentary Experience: A Video Approach VMS 131 Experimental Drawing VMS 198 Experimental Interface Design VMS 206 Digital Imaging VMS 213S Documenting Black Experiences VMS 220S Ready for Prime Time: Writing the Dramatic TV Episode VMS 229S Experimental Filmmaking PRACTICE ARTSVIS 235S Lighting Design VMS 260S Cinematography VMS 261S Moving Image Practice VMS 270S Constructing Immersive Virtual Worlds VMS 271S Film Animation Production VMS 281S Graphic Design in Motion VMS 305S Video Journalism VMS 313S Documentary Video Production Workshop VMS 314S Activating the Archive: Archival Research as Documentary Practice VMS 321S Writing Movies and Plays: Adaptation VMS 322S Motion Graphics for Film and Video VMS 335S Acting for the Camera VMS 338S Writing the Short Film VMS 339S Sound for Film and Video VMS 340S Producing Docu-Fiction VMS 345S Dance for the Camera VMS 348S Multimedia Documentary: Editing, Production, and Publication rev. May 2020 VMS 351 3D Modeling and Animation VMS 356S Editing for Film and Video VMS 357S Digital Storytelling and Interactive Narrative 359A Introduction to Global Los Angeles: An Interdisciplinary
    [Show full text]
  • Hearing Corporeal Memories in Cameraperson and Stories We Tell
    Towards Affective Listening: Hearing Corporeal Memories in Cameraperson and Stories We Tell THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Alper Gobel, B.A. Graduate Program in Film Studies The Ohio State University 2019 Master’s Examination Committee: Margaret Flinn, Advisor Erica Levin Sean O’Sullivan Copyrighted by Alper Gobel 2019 Abstract This thesis focuses on two documentaries: Kirsten Johnson’s Cameraperson (2016) and Sarah Polley’s Stories We Tell (2012). By proposing the term affective listening, it foregrounds affective engagement with the voice of documentary. The thesis argues that listening to the materiality of voice(s) is inextricably bound up with embodied experiences of social subjects. Affective listening creates an auditory experience, establishing a direct link between worldly experiences of documentary subjects and corporeal memories. In both documentaries, listening to multiple voices requires attention to bodily expressions and sensations. The emphasis on corporeal expressions incorporates a multiplicity of affect conveyed through vocal conventions of documentary such as the voice-over and the interview. Consistent with the two documentaries, affective listening emphasizes a multiplicity of affect, a multiplicity that is ingrained corporeal memories. ii Dedication Dedicated to my mother, Sevim Sahin iii Vita 2013 (May).....................................................B.A. Radio, Television, and Film, Ankara University,
    [Show full text]
  • Westminsterresearch Bombay Before Bollywood
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Bombay before Bollywood: the history and significance of fantasy and stunt film genres in Bombay cinema of the pre- Bollywood era Thomas, K. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Prof Katharine Thomas, 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] BOMBAY BEFORE BOLLYWOOD: THE HISTORY AND SIGNIFICANCE OF FANTASY AND STUNT FILM GENRES IN BOMBAY CINEMA OF THE PRE-BOLLYWOOD ERA KATHARINE ROSEMARY CLIFTON THOMAS A thesis submitted in partial fulfilment of the requirements of the University Of Westminster for the degree of Doctor of Philosophy by Published Work September 2016 Abstract This PhD by Published Work comprises nine essays and a 10,000-word commentary. Eight of these essays were published (or republished) as chapters within my monograph Bombay Before Bollywood: Film City Fantasies, which aimed to outline the contours of an alternative history of twentieth-century Bombay cinema. The ninth, which complements these, was published in an annual reader. This project eschews the conventional focus on India’s more respectable genres, the so-called ‘socials’ and ‘mythologicals’, and foregrounds instead the ‘magic and fighting films’ – the fantasy and stunt genres – of the B- and C-circuits in the decades before and immediately after India’s independence.
    [Show full text]