A Study of Rhetorical Systems in the Documentary Mode
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Neo-Modern Contemplative and Sublime Cinema Aesthetics in Godfrey Reggio’S Qatsi Trilogy
Art Inquiry. Recherches sur les arts 2016, vol. XVIII ISSN 1641-9278 / e - ISSN 2451-0327219 Kornelia Boczkowska Faculty of English Adam Mickiewicz University in Poznań [email protected] SPEEDING SLOWNESS: NEO-MODERN CONTEMPLATIVE AND SUBLIME CINEMA AESTHETICS IN GODFREY REGGIO’S QATSI TRILOGY Abstract: The article analyzes the various ways in which Godfrey Reggio’s experimental documentary films, Koyaanisqatsi (1982), Powaqqatsi (1988) and Naqoyqatsi (2002), tend to incorporate narrative and visual conventions traditionally associated with neo-modern aesthetics of slow and sublime cinema. The former concept, defined as a “varied strain of austere minimalist cinema” (Romney 2010) and characterized by the frequent use of “long takes, de-centred and understated modes of storytelling, and a pronounced emphasis on quietude and the everyday” (Flanagan 2008), is often seen as a creative evolution of Schrader’s transcendental style or, more generally, neo-modernist trends in contemporary cinematography. Although predominantly analyzed through the lens of some common stylistic tropes of the genre’s mainstream works, its scope and framework has been recently broadened to encompass post-1960 experimental and avant-garde as well as realistic documentary films, which often emphasize contemplative rather than slow aspects of the projected scenes (Tuttle 2012). Taking this as a point of departure, I argue that the Qatsi trilogy, despite being classified as largely atypical slow films, relies on a set of conventions which draw both on the stylistic excess of non-verbal sublime cinema (Thompson 1977; Bagatavicius 2015) and on some formal devices of contemplative cinema, including slowness, duration, anti-narrative or Bazinian Realism. -
Tuesday - Saturday, 8:30 A.M
National Archives Southeast Open to the Public: Region Tuesday - Saturday, 8:30 a.m. to 5780 Jonesboro Road 5:00 p.m. Morrow, Georgia 30260 (excluding Federal holidays) 770-968-2100 National Archives and Records Administration SOUTHEAST REGION ARCHIVES 5780 JONESBORO ROAD MORROW, GEORGIA 30260 . www.archives.gov Dear Educator: On behalf of the National Archives and Records Administration - Southeast Region, please accept this copy of the Curriculum Guide for "This Great Nation Will Endure": Photographs ofthe Great Depression. This Curriculum Guide was created by the National Archives Southeast Region with the assistance of the Franklin D. Roosevelt Library and Museum. The purpose of this guide is to provide materials to help your students gain a better understanding of the difficult conditions Americans faced during the Great Depression along with the government's efforts to stabilize and document the problems. In addition, this guide will familiarize students with the use of primary sources and acquaint them with using document-based historical research techniques. For general information or questions regarding this guide please contact Karen Kopanezos at 770.968.2530. For questions regarding tours of our facilities, please contact Mary Evelyn Tomlin, Southeast Region Public Programs Specialist at 770.968.2555. We hope that this Curriculum Guide will be of assistance to your students. We are grateful for your dedication to education and we look forward to your next visit to the National Archives Southeast Region. Sincerely, James McSweeney -
French Poetic Realism and Film Noir: “'It's Always Too Late'” PICTURE
French Poetic Realism and Film Noir: “’It’s Always Too Late’” Participants Rebecca Martin, PhD Department of English & Modern PICTURE/PHOTO Language Studies, PLV Article to appear in Linguæ & - Rivista di lingue e culture moderne 16.2 (2017) Goals Research Aims •Examine treatment of Poetic Realism in The cinematic history of American film noir major critical texts. is usually traced to German Expressionism •Analyze several French and American of the late 1920s and the 1930s, ignoring films noir to reinforce connections. obvious links to French Poetic Realism of •Offer multiple proposals for neglect of the the 1930s. This project explores the reasons French contribution, including the Code, why the French connection has been industrial filmmaking in the US, and post- overlooked or downplayed. war conformity of the Cold War period. Examining Non-traditional Female Students’ Access to Writing Support as They Negotiate Life Transitions Participants Robert Mundy, Assistant Professor Michael Turner, Writing Center Director Alysa Hantgan, Instructor Alexandra Franciosa, Undergrad. Alexa Blanco, Undergrad. Overall Goal Specific Research Aims • Our research examines how writing • Understand how these women discuss their and writing identities interact with experiences in returning to school and how they discuss their support networks. support and with the very practical • Explore how support enables, disables, and demanding aspects of attending conflicts with, and disrupts the circumstances college as a non-traditional, female under which these students write and how they student. understand writing. Dyson Scholars in Residence Program Created by Dr. Jane Collins, ENG, PLV campus Supported by the Dyson Dean’s Office and Residence Life Project: Create a vibrant Living/Learning Benefits: Community in the new PLV Residence Halls. -
Ken Loach : Constructing Individuals
UNIVERSITE MICHEL DE MONTAIGNE – BORDEAUX III U.F.R D’ANGLAIS Ken Loach : Constructing Individuals Questions of existentialism, happiness, gender and individual / collective construction. TRAVAIL D’ETUDES ET DE RECHERCHES PRESENTE PAR ALEXANDRA BEAUFORT J UNIVERSITE MICHEL DE MONTAIGNE – BORDEAUX III U.F.R D’ANGLAIS Ken Loach : Constructing Individuals Questions of existentialism, happiness, gender and individual / collective construction. TRAVAIL D’ETUDES ET DE RECHERCHES PRESENTE PAR ALEXANDRA BEAUFORT Remerciements Je tiens à remercier: - Monsieur Joël Richard qui a accepté de diriger ce TER, pour sa confiance, son suivi et ses conseils; - Monsieur Jean François Baillon, pour son aide précieuse et sa disponibilité; - Monsieur Maurice Hugonin, pour son aide sur Aristote; - Messieurs Paul Burgess, Ken Allen, JF Buck, et les autres pour leur aide à la re- lecture; - Monsieur Fabrice Clerc, pour son soutien et son aide à la mise en page; - Tout le personnel de Parallax Pictures à Londres, pour leur gentillesse et leur compréhension; - Et enfin Ken Loach, pour son extrême gentillesse lors de l'interview, et surtout pour tous ses films, dont l'étude a toujours été passionnante et très enrichissante. TABLE OF CONTENTS INTRODUCTION 1 I/ THE EXISTENTIALIST TREND IN LOACH'S FILMS. 3 1/ Against systematisation. 4 2/ The engagement of the self. 7 3/ Question of religion. 11 4/ Marxism and Existentialism: question of politics. 15 II/ THE PURSUIT OF HAPPINESS 19 1/ Learning to live 20 2/ The Aristotelian conception of citizenship. 23 3/ The organic city. 26 4/ Happiness and Socialization 29 III/ GENDER ISSUES. 33 1/ Is there a gender issue in Loach's movies? 34 2/ Out of home: from Cathy to Sarah 41 3/ Falling Standards, Fallen Males. -
The Journal of Shakespeare and Appropriation 11/14/19, 1'39 PM
Borrowers and Lenders: The Journal of Shakespeare and Appropriation 11/14/19, 1'39 PM ISSN 1554-6985 VOLUME XI · (/current) NUMBER 2 SPRING 2018 (/previous) EDITED BY (/about) Christy Desmet and Sujata (/archive) Iyengar CONTENTS On Gottfried Keller's A Village Romeo and Juliet and Shakespeare Adaptation in General (/783959/show) Balz Engler (pdf) (/783959/pdf) "To build or not to build": LEGO® Shakespeare™ Sarah Hatchuel and the Question of Creativity (/783948/show) (pdf) and Nathalie (/783948/pdf) Vienne-Guerrin The New Hamlet and the New Woman: A Shakespearean Mashup in 1902 (/783863/show) (pdf) Jonathan Burton (/783863/pdf) Translation and Influence: Dorothea Tieck's Translations of Shakespeare (/783932/show) (pdf) Christian Smith (/783932/pdf) Hamlet's Road from Damascus: Potent Fathers, Slain Yousef Awad and Ghosts, and Rejuvenated Sons (/783922/show) (pdf) Barkuzar Dubbati (/783922/pdf) http://borrowers.uga.edu/7168/toc Page 1 of 2 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 11/14/19, 1'39 PM Vortigern in and out of the Closet (/783930/show) Jeffrey Kahan (pdf) (/783930/pdf) "Now 'mongst this flock of drunkards": Drunk Shakespeare's Polytemporal Theater (/783933/show) Jennifer Holl (pdf) (/783933/pdf) A PPROPRIATION IN PERFORMANCE Taking the Measure of One's Suppositions, One Step Regina Buccola at a Time (/783924/show) (pdf) (/783924/pdf) S HAKESPEARE APPS Review of Stratford Shakespeare Festival Behind the M. G. Aune Scenes (/783860/show) (pdf) (/783860/pdf) B OOK REVIEW Review of Nutshell, by Ian McEwan -
Representing History and the Filmmaker in the Frame
REPRESENTING HISTORY AND THE FILMMAKER IN THE FRAME Trent Griffiths* Resumo: A presença do realizador no enquadramento representa uma relação única entre o documentário e a História em que o realizador se envolve na história social através da sua experiência pessoal e enquanto autor de uma representação. O realizador no enquadramento é, também, um representante do momento histórico, ao explorar de modo reflexivo o encontro com o processo de mediação e auto-representação que caracteriza a sociedade pós-moderna. Palavras-chave: subjetividade, auto-reflexividade, realizador no enquadramento. Resumen: La presencia del director en el encuadre representa una relación úni- ca entre el documental y la historia, en la cual el director se involucra en la historia social a través de su experiencia personal como autor de una representación. El director en el encuadre es también un representante del momento histórico, al explorar de modo reflexivo el encuentro con el proceso de mediación y auto-representación que caracteriza a la sociedad posmoderna. Palabras clave: subjetividad, auto-reflexividad, director en el encuadre. Abstract: The presence of the filmmaker as a subject in the documentary frame represents a unique relationship between documentary film and history, where the filmmaker engages with social history through their personal experience of authoring a representation of it. This paper explores how the tension between the filmmaker’s presence as an author and as a subject enacts a kind of self-reflexivity that recasts the possibilities of representing history through documentary film. Keywords: Subjectivity, self-reflexivity, filmmaker in the frame. Résumé: La présence du réalisateur dans l’image cinématographique témoigne d’une relation unique entre documentaire et histoire : le réalisateur s’engage dans l’his- toire sociale à travers d’une expérience personnelle et comme auteur d’une représen- tation. -
From Free Cinema to British New Wave: a Story of Angry Young Men
SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending. -
Tesis: Tlalocan, Paraíso Del Agua. Documental Sobre
UNIVERSIDAD NACIONAL AUTÓNOMA DE MEXICO POSGRADO EN ARTES Y DISEÑO TLALOCAN, PARAÍSO DEL AGUA. DOCUMENTAL SOBRE ABASTO DE AGUA Y DESAGÜE DE LA CIUDAD DE MÉXICO TESIS QUE PARA OPTAR POR EL GRADO DE: MAESTRO EN CINE DOCUMENTAL PRESENTA: ANDRÉS PULIDO ESTEVA DIRECTOR DE TESIS: DRA. LILIANA CORDERO MARINES (PAD) SINODALES: DR. DIEGO ZAVALA SCHERER (PAD) DRA. ILIANA DEL CARMEN ORTEGA VACA (PAD) DR. ANTONIO DEL RIVERO HERRERA (PAD) CINEASTA MARIA DEL CARMEN DE LARA RANGEL (PAD) Méxcio D.F. Enero, 2016 UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. ÍNDICE Agradecimientos Introducción ··························································································· 4 ································································································· 6 El problema y las formas de ilustrarlo ··················································· 7 Los objetivos y la perspectiva ····························································· -
Ivens Magazine Blz18tm37.Pdf
basin, Ivens yells: ‘We will shoot this scene again in half an June 15th – June 22nd 1956 Damme, Belgium June 25th - July 12th 1956, Mulde, Germany Gérard Philipe and Joris Ivens, hour! There is too much smoke, the horses do not cavort Part of the film crew travelled to Flanders, Bruges, in order On June 25th, Gérard Philipe and Joris Ivens arrived at film clips in East Germany enough and the bridge explosion is not as spectacular as it to add some authentic elements of the local colour to the Tempelhof airport in East Berlin together with the French from Les aventures de Till should be’ … The Dutch journalists could not believe what film. The shots of the actual canal and the opening scene in crew, after the press and hundreds of fans had been waiting l’Espiègle (The Adventures they saw. Their national history was being turned into a the dunes and the countryside were filmed there. And the there for hours. ‘Plenty of teen-agers came to see the ‘jeune of Till Eulenspiegel), 1956. film in the French Riviera by a‘ modest Dutchman’. They scene, in which the city of Damme goes up in flames. Mean- premier’ of the French film’, is what a journalist wrote, who © DEFA Stiftung wanted to know from Ivens how the collaboration was go- while, Ivens became continuously more concerned about was surprised that the fans were so hysterical. ing. ‘Gérard and I, we each direct certain fragments. He, for the direction in which the film was heading. ‘Attention que The last scenes in the GDR were all about the large-scaled instance, works a lot with the French actors, and does the l’action comique et dynamique ne domine pas, ou ébaufe la battles on the banks of the Scheldt between the Spaniards, work that requires the input of an experienced feature film situation serieuse.’, he wrote.24 After three months, he final- on the one hand, and the rebellions of the Geuzen army and man; I am responsible for the outside shoots and the action ly cut the knot and told DEFA that he wanted to back out of the mercenary army of the Prince of Orange on the other. -
The Grierson Effect
Copyright material – 9781844575398 Contents Acknowledgments . vii Notes on Contributors . ix Introduction . 1 Zoë Druick and Deane Williams 1 John Grierson and the United States . 13 Stephen Charbonneau 2 John Grierson and Russian Cinema: An Uneasy Dialogue . 29 Julia Vassilieva 3 To Play The Part That Was in Fact His/Her Own . 43 Brian Winston 4 Translating Grierson: Japan . 59 Abé Markus Nornes 5 A Social Poetics of Documentary: Grierson and the Scandinavian Documentary Tradition . 79 Ib Bondebjerg 6 The Griersonian Influence and Its Challenges: Malaya, Singapore, Hong Kong (1939–73) . 93 Ian Aitken 7 Grierson in Canada . 105 Zoë Druick 8 Imperial Relations with Polynesian Romantics: The John Grierson Effect in New Zealand . 121 Simon Sigley 9 The Grierson Cinema: Australia . 139 Deane Williams 10 John Grierson in India: The Films Division under the Influence? . 153 Camille Deprez Copyright material – 9781844575398 11 Grierson in Ireland . 169 Jerry White 12 White Fathers Hear Dark Voices? John Grierson and British Colonial Africa at the End of Empire . 187 Martin Stollery 13 Grierson, Afrikaner Nationalism and South Africa . 209 Keyan G. Tomaselli 14 Grierson and Latin America: Encounters, Dialogues and Legacies . 223 Mariano Mestman and María Luisa Ortega Select Bibliography . 239 Appendix: John Grierson Biographical Timeline . 245 Index . 249 Copyright material – 9781844575398 Introduction Zoë Druick and Deane Williams Documentary is cheap: it is, on all considerations of public accountancy, safe. If it fails for the theatres it may, by manipulation, be accommodated non-theatrically in one of half a dozen ways. Moreover, by reason of its cheapness, it permits a maximum amount of production and a maximum amount of directorial training against the future, on a limited sum. -
Farm Security Administation Photographs in Indiana
FARM SECURITY ADMINISTRATION PHOTOGRAPHS IN INDIANA A STUDY GUIDE Roy Stryker Told the FSA Photographers “Show the city people what it is like to live on the farm.” TABLE OF CONTENTS Introduction 1 The FSA - OWI Photographic Collection at the Library of Congress 1 Great Depression and Farms 1 Roosevelt and Rural America 2 Creation of the Resettlement Administration 3 Creation of the Farm Security Administration 3 Organization of the FSA 5 Historical Section of the FSA 5 Criticisms of the FSA 8 The Indiana FSA Photographers 10 The Indiana FSA Photographs 13 City and Town 14 Erosion of the Land 16 River Floods 16 Tenant Farmers 18 Wartime Stories 19 New Deal Communities 19 Photographing Indiana Communities 22 Decatur Homesteads 23 Wabash Farms 23 Deshee Farms 24 Ideal of Agrarian Life 26 Faces and Character 27 Women, Work and the Hearth 28 Houses and Farm Buildings 29 Leisure and Relaxation Activities 30 Afro-Americans 30 The Changing Face of Rural America 31 Introduction This study guide is meant to provide an overall history of the Farm Security Administration and its photographic project in Indiana. It also provides background information, which can be used by students as they carry out the curriculum activities. Along with the curriculum resources, the study guide provides a basis for studying the history of the photos taken in Indiana by the FSA photographers. The FSA - OWI Photographic Collection at the Library of Congress The photographs of the Farm Security Administration (FSA) - Office of War Information (OWI) Photograph Collection at the Library of Congress form a large-scale photographic record of American life between 1935 and 1944. -
Political Goals Versus Commercial Goals: Emile De Antonio's Rush To
Media Industries 6.2 (2019) Political Goals versus Commercial Goals: Emile de Antonio’s Rush to Judgment on the Market Nora Stone1 UNIVERSITY OF ARKANSAS AT LITTLE ROCK norastone [AT] gmail.com Abstract Emile de Antonio had reason to hope that his second documentary, Rush to Judgment (1967), would be as popular as his first, Point of Order! (1963). Made with bestselling author and political commentator Mark Lane, Rush to Judgment was one of the very first films to question the Warren Commission’s conclusion about the Kennedy assassination. However, despite its topicality, Rush to Judgment did not entice exhibitors or audiences. While de Antonio and others attributed the film’s commercial failure to politically motivated censorship and intimidation, this explanation does not account for other factors in the documentary’s release. Using trade journals and Emile de Antonio’s archive, this article finds that Rush to Judgment’s release was hobbled by an inexperienced and dysfunctional distribution company and by de Antonio and Lane’s divergent goals. Most of all, though, the instability of the independent film market in the mid-1960s sunk the release of Rush to Judgment. Keywords: Film Distribution, Documentary, Committed Documentary, Political Emile de Antonio’s first film, Point of Order!, was a surprise success at the box office in 1964. Made with Dan Talbot, owner of the recently opened arthouse New Yorker Theater and later founder of distribution company New Yorker Films, Point of Order! tells the story of the infa- mous Army–McCarthy hearings of 1954. Distributor Walter Reade-Sterling booked Point of Order! in over one hundred cinemas, as well as numerous college campuses.