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Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 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, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
MAKING IT HAPPEN in NEW YORK CITY
PURCHASE COLLEGE MAGAZINE | THINK WIDE OPEN FALL/WINTER 2014 MAKING IT HAPPEN in NEW YORK CITY PLUS: 2010 Graduates Talk about the Impact of College ... FOUR YEARS IN AND FOUR YEARS OUT LOOKING GOOD: The Newly Renovated Campus Plaza Boasts Green Grass, Blooming Trees, and Open Pathways. TABLE [THIS MOMENT] OF CONTENTS Pursuits 1 IN TIME By Thomas J. Schwarz Making It Happen in New York City 5 Purchase has a lot to offer, but the value of our location News Briefs 12 and its proximity to New York stand out among our greatest assets. Our students can hop on a train and Four Years In and Four Years Out 17 thirty-five minutes later find themselves in one of the greatest hubs of ideas, culture, and commerce on the Looking Good 22 planet. Equally appealing is the ability to return to our lush campus away from the distractions of New York City to recharge, focus, and apply what’s been absorbed, Alumni in Action 24 whether on stage or in the classroom, studio, or laboratory. In Making It Happen in New York City, Neuberger Museum of Art 29 you’ll find a few of our many New York stories—alumni, students, and faculty and their connections to New York City. The Performing Arts Center 29 Following a recent screening of the documentary film Ivory Tower at the Jacob Burns Film Center, I participated COVER PHOTOGRAPHY in a discussion about the importance in 2014 of earning a college degree. BY KELLY CAMPBELL While student debt is a harsh reality and financial concern for many prospective students, it should not overshadow the benefits a college On the Cover: Dan DeGloria ‘01 and his company degree provides. -
Film Front Weimar’ 30-10-2002 14:10 Pagina 1
* pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3 -
Historical Turns: on CALIGARI, Kracauer and New Film History 2018
Repositorium für die Medienwissenschaft Nicholas Baer Historical Turns: On CALIGARI, Kracauer and New Film History 2018 https://doi.org/10.25969/mediarep/14785 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Baer, Nicholas: Historical Turns: On CALIGARI, Kracauer and New Film History. In: Research in Film and History. The Long Path to Audio-visual History (2018), Nr. 1, S. 1–16. DOI: https://doi.org/10.25969/mediarep/14785. Erstmalig hier erschienen / Initial publication here: https://film-history.org/issues/text/historical-turns Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 1 Historical Turns: On CALIGARI, Kracauer and New Film History Nicholas Baer Published: November 23, 2018 Figure 1. Nitrate copy Archivo Nacional de la Imagen-Sodre, Montevideo . The advent of New Film History a quarter-century ago was preceded by a far earlier “historical turn.” Challenging natural law theory, with its appeal to the atemporal and universal aspects of human nature, nineteenth-century German historicism had asserted the historicity and uniqueness of all Research in Film and History ► Issue 1 ©The Author(s) 2018. Published by Research in Film and History. This is an Open Access article distributed under the terms of the Creative Commons BY–NC–ND 4.0 License (http://creativecommons.org/licenses/by-nc-nd/4.0/). -
Das Cabinet Des Dr. Caligari the Cabinet of Dr
BERLINALE CLASSICS DAS CABINET DES DR. CALIGARI THE CABINET OF DR. CALIGARI Robert Wiene Der Hypnotiseur Dr. Caligari präsentiert auf dem Jahrmarkt den Som- Deutschland 1920 nambulen Cesare als Medium, das den Schaulustigen die Zukunft 75 Min. · HDCAM-SR · Viragiert voraussagt. Nachts aber weckt er ihn aus dem vermeintlichen Schlaf, dann geht Cesare als Serienmörder in der norddeutschen Kleinstadt Regie Robert Wiene Holstenwall um … Der frühe „Psychothriller“ im expressionistischen Buch Carl Mayer, Hans Janowitz Kamera Willy Hameister Dekor und mit einer doppelbödigen Rahmenhandlung zählt zu den Optische Spezialeffekte Ernst Kunstmann berühmtesten deutschen Filmen. Erstmals basiert nun eine Restaurie- Bauten Hermann Warm, Walter Reimann, rung von DAS CABINET DES DR. CALIGARI auf dem Kameranegativ; sie Walter Röhrig wird den Film in einer Qualität zeigen, die seinem Status als Klassiker Kostüm Walter Reimann Geboren 1873, gestorben 1938. Er war an gerecht wird. Auch das Stummfilmkonzert zum Film ist eine Weltpre- Produzenten Erich Pommer, Rudof Meinert Wiener Theatern tätig, ab 1912 in Berlin miere. John Zorn, Komponist und Multi-Instrumentalist aus New York, beim Film. An den Erfolg von DAS CABINET spielt an der Karl-Schuke-Orgel der Berliner Philharmonie eine neue Darsteller DES DR. CALIGARI versuchte er mit den Musik. Die Präsentation bei den Berlinale Classics ist eine Kooperation Werner Krauß (Dr. Caligari) expressionistischen Dramen GENUINE (1920) Conrad Veidt (Cesare) und RASKOLNIKOW (1923, nach Dostojewski) der Internationalen Filmfestspiele Berlin mit der Stiftung Deutsche Ki- nemathek, der Friedrich-Wilhelm-Murnau-Stiftung, der Stiftung Berli- Friedrich Fehér (Francis) sowie mit dem Horrorstück ORLACS HÄNDE Lil Dagover (Jane) ner Philharmoniker sowie dem ZDF in Zusammenarbeit mit ARTE und (mit Conrad Veidt) von 1924 vergeblich Hans Heinrich von Twardowski (Alan) anzuknüpfen. -
N and Now Arctic Adventure Ellie Ga ’00 Retraces the Tara’S North Pole Expedition Through Memory and Fortunetelling
Non-Profit U.S. Postage PAID Augusta, ME 221 East 71st Street Permit No.121 New York, NY 10021 1-800-MARYMOUNT www.mmm.edu RETURN SERVICE REQUESTED MaryMount M a n h a t t a n Fall 2010-2011 Magazine Then and Now Arctic Adventure Ellie Ga ’00 Retraces The Tara’s North Pole Expedition through Memory and Fortunetelling The seventh and eighth floors of Marymount Manhattan’s Main Building housed a swimming pool until it was removed at the end of the 2002-2003 academic year. The reconstruction of both floors provided the College with the opportunity to enhance the learning environment for MMC students. Science classrooms and faculty offices are now located on the seventh floor, and in 2009 the Offices of Academic Affairs and Student Affairs were built on the eighth floor. Cover.indd 1 11/10/10 11:25 AM Experience Marymount Manhattan College’s Cover feature Fall Repertoire In 2008, photographer ellie Ga ’00 returned from her post as an artist-in- residence aboard The Tara, a research vessel lodged in the ice of the arctic ocean. Ga continues to synthesize her experience through recent projects like The Fortunetellers and Three Arctic Booklets. December 9-11, 2010 Performance dates and times: Thursday, December 9 at 8 p.m.; Friday, December 10 at 8 p.m.; and Saturday, December 11 at 2 p.m. and 8 p.m. For tickets, call (212) 517-0610. Reservations can be made on or after November 1. Cover.indd 2 11/5/10 2:17 PM Contents 3 President’s Page 4 camPus view 6 Opportunities Ahead Internships Offer MMC Students Glimpse into Workforce 11 alumni avenue -
Full Text In
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 16 (2019) 35–58 DOI: 10.2478/ausfm-2019-0003 German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches Christina Stojanova University of Regina (Canada) E-mail: [email protected] “True symbolism occurs where the particular represents the more general […] as living, momentary revelation of the unfathomable .” Johann Wolfgang von Goethe, 1949, no. 314. Abstract. Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod, 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett, 1924). Keywords: Symbolism, Expressionism, semiotic vs. symbolic approach, psychological vs. visionary art, shadow, animus/anima, Faust- Mephistopheles dyad. This essay argues that the longevity of German Expressionist cinema as a unique expression of the complex historical, cultural, and psychological environment of the Weimar republic (1918–1933), is above all predicated on its sophisticated cinematic language, defined as “symbolic expression” of “illogical and irrational factors, transcending our omprehension,” which “cannot be dealt with rationally” (Jung qtd. in Smythe 2012, 151). -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
Howl Quixote
Montclair State University Montclair State University Digital Commons 2016-2017 Break the Mold PEAK Performances Programming History 3-23-2017 Howl Quixote Office of Arts + Cultural Programming PEAK Performances at Montclair State University Follow this and additional works at: https://digitalcommons.montclair.edu/peak-performances-2016-2017 Part of the Theatre and Performance Studies Commons World Premiere! HOWL Quixote Photo by Gennadi Novash March 23—26, 2017 Alexander Kasser Theater Dr. Susan A. Cole, President Daniel Gurskis, Dean, College of the Arts Jedediah Wheeler, Executive Director, Arts & Cultural Programming World Premiere! HOWL Quixote Created by HOWL after Don Quixote by Miguel de Cervantes Saavedra Director/Production Designer Mark DeChiazza Composer/Librettist Amy Beth Kirsten Choreographer Denisa Musilova Costume Designer Sylvianne Shurman Lighting Designer/Production Manager Mary Ellen Stebbins Associate Lighting Designer Alex Fetchko Sound Designer Palmer Hefferan Associate Sound Designer Valentine Monfeuga Projection Designer Mark DeChiazza with Erik Trester Stage Manager Jason Kaiser Associate Stage Manager Cassey Kikuchi Kivnick Assistant to the Composer Daniel Thorpe◊ Scholar-in-Residence Matthew Tanico ◊Made possible with the support of Australia’s Carclew Youth Arts foundation Performers (in alphabetical order) Percussion Jonathan Allen† Percussion Victor Caccese† Mezzo-soprano Hai-Ting Chinn Actor Mark DeChiazza* Soprano Lindsay Kesselman Percussion Ian Rosenbaum† Contralto Kirsten Sollek Percussion Terry Sweeney†** *Alonso Quixano **Don Quixote of La Mancha †Also a member of Sandbox Percussion The libretto is constructed of text and poetry by the composer with additional phrases taken from poetry by Ibn Ammār and Ibn Faraj (trans. Cola Franzen); Walter Bargen; Jorge Manrique, Luis de Góngora, and Cervantes (all translated by Edith Grossman). -
Allen Fogelsanger
Allen Fogelsanger 135 Prospect Park Southwest 607-229-9479 Apartment A3 [email protected] Brooklyn, New York 11218-1239 http://allenfogelsanger.com/ Professional Experience Visiting Assistant Arts Professor, Department of Dance, Tisch School of the Arts, New York University, New york, New York. Fall 2018-present teaching undergraduate and graduate music courses for dance students, accompanying technique classes, and advising students and faculty. Dance Class Accompanist / Dance Composer / Dance Music Advisor, freelance, September 2011-present. Playing for ballet and modern classes taught by June Finch, Sharon Milanese, Amy Miller, Jaclynn Villamil, Kat Wildish and others. Music compositions used by June Finch, Alan Good, Lynn Neuman, Katy Orthwein and others. Music advisor for Yung-Li Dance, Philip Foster and the Open Dance Ensemble, and the Tisch School of the Arts Department of Dance (Rashaun Mitchell’s 2014-15 staging of a Merce Cunningham MinEvent). Faculty / Accompanist, José Limón Dance Foundation, New York, New York, March 2016-present. Accompanying classes by Kathryn Alter, Logan Kruger and others; led workshops with Kathryn Alter & Roxane D’Orléans Juste. Adjunct Faculty / Accompanist, Conservatory of Dance, Purchase College, State University of New York, Purchase, New York. Fall 2014-Spring 2018 taught undergraduate Music for Dance II, accompanied ballet and modern dance classes taught by Jean Freebury, Joseph Malbrough, Mercedes Pablos and others. Adjunct Faculty / Accompanist, Department of Dance, Marymount Manhattan College, New York, New York. Fall 2012-Spring 2018 taught Music for Dance, BFA Choreographer Projects, Rhythm in Sound and Movement, and Dance Composition I (with John Jasperse and JoAnna Mendl Shaw); accompanyied ballet, modern and composition classes taught by Lisa Attles, Elena Comendador, Carolyn Eaton, Anthony Ferro, Lone Larsen, Justin Sherwood, Tami Stronach, Carol Teitelbaum, Sabatino Verlezza, Pavel Zustiak and others. -
Sex, Politics, and Comedy
SEX, POLITICS, AND COMEDY GERMAN JEWISH CULTURES Editorial Board: Matthew Handelman, Michigan State University Iris Idelson-Shein, Goethe Universitat Frankfurt am Main Samuel Spinner, Johns Hopkins University Joshua Teplitsky, Stony Brook University Kerry Wallach, Gettysburg College Sponsored by the Leo Baeck Institute London SEX, POLITICS, AND COMEDY The Transnational Cinema of Ernst Lubitsch Rick McCormick Indiana University Press This book is a publication of Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA iupress.indiana.edu Supported by the Axel Springer Stiftung This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Minnesota. Learn more at the TOME website, which can be found at the following web address: openmonographs.org. © 2020 by Richard W. McCormick All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. -
'Substantial' Boost
iM a v o rite Making lik n a m 4 Presidential race Michael Thelvin, the quiet man, Politics, prosecutors, cbnnei'to town /3 scores two ^galnst^halers/11 "^family defense /5 X Hanrhratpr Irralb Friday. Feb. 26, 1988 Manchester, Conn. — A City of Village Charm 30 Cents PZC gets N urses get 8th’s plan for sewer ‘substantial’ Bv Alex Glrelll Manchester Herald The Eighth Utilities District pay has applied to the town’s Plan boost ning and Zoning Commission for a review of its controversial plans Bv Andrew J. Davis nurses. The hospital primarily for a sanitary trunk sewer to Manchester Herald has a hard time filling weekend, serve the proposed Mall at evening and infensive care unit Buckland Hills and other users. Manchester Memorial Hospital openings. Filbert said. The plans and a letter from has reached a tentative agree The increase in pay should help John D. LaBelle Jr,, the district’s ment with its nurses’ union that ease the nursing shortage at the legal counsel, were submitted will provide them with a “sub hospital, which also has affected toda>| to the town’s ' Planning stantial Increase” in pay, Gloria other hospitals throughout the Department. T. Filbert, head of the union, said country, she said. The commission has 35 days in today. “I believe so,” Filbert said. which to act on the plan, which \. The agreement was reached “We have a very good package.” has been opposed by the town Thursday night, said Andrew A. The contract also calls for more administration. If it does not act.