General Assembly 2018
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Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space in Cinematic Discourse
Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space In Cinematic Discourse Dr. Ammar Ibrahim Mohammed Al-Yasri Television Arts specialization Ministry of Education / General Directorate of Holy Karbala Education [email protected] Article History: Received: 11 January 2021; Revised: 12 February 2021; Accepted: 27 March 2021; Published online: 16 April 2021 Abstract: There is no doubt that artistic races are the fertile factor in philosophy in all of its perceptions, so cinematic discourse witnessed from its early beginnings a relationship to philosophical thought in all of its proposals, and post-colonial philosophy used cinematic discourse as a weapon that undermined (colonial) discourse, for example cinema (Novo) ) And black cinema, Therefore, the title of the research came from the above introduction under the title (undermining the colonial space in cinematic discourse) and from it the researcher put the problem of his research tagged (What are the methods for undermining the colonial space in cinematic discourse?) And also the first chapter included the research goal and its importance and limitations, while the second chapter witnessed the theoretical framework It included two topics, the first was under the title (post-colonialism .. the conflict of the center and the margin) and the second was under the title (post-colonialism between cinematic types and aspects of the visual form) and the chapter concludes with a set of indicators, while the third chapter included research procedures, methodology, society, sample and analysis of samples, While the fourth chapter included the results and conclusions, and from the results obtained, the research sample witnessed the use of undermining the (colonial) act, which was embodied in the face of violence with violence and violence with culture, to end the research with the sources. -
1 GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29
GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
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lifestyle WEDNESDAY, FEBRUARY 3, 2016 MUSIC & MOVIES Egyptian actress Yousra aims to raise Mideast AIDS awareness In this Sunday, Jan gyptian film star Yousra has taken up a role Saudi Arabia, Sudan, Yemen, and parts of with the United Nations to help combat Somalia, and criminalized in most of the other 31, 2016 photo, EHIV and AIDS in the Middle East, where states in the region. Drug use is also punishable Egyptian film star prevalence is low but growing rapidly. In an by death in several countries. HIV epidemics are Yousra speaks interview Monday in the Egyptian capital, Cairo, concentrated among high-risk groups - people after being where she was named a UN Goodwill who inject drugs, migrants, sex workers and appointed as UN Ambassador for the cause, she said that stigmas men who have sex with men. Goodwill and taboos associated with the virus must be Ambassador in combated and societies taught to be more sym- Antiretroviral therapy Middle East and pathetic to those infected. “For us to defeat it we Yousra, whose career spans four decades and North Africa have to admit it exists,” she told the Associated who has worked with celebrated filmmaker during a ceremony Press. “Because people have a right to medica- Yousef Chahine and actor Adel Emam, says she in Cairo. Yousra tion so they can live with dignity, and so preg- took up the cause after meeting people who has taken up a role nant woman can prevent passing it on to their had been abandoned by their families after with the United children. -
Ar Risalah) Among the Moroccan Diaspora
. Volume 9, Issue 1 May 2012 Connecting Islam and film culture: The reception of The Message (Ar Risalah) among the Moroccan diaspora Kevin Smets University of Antwerp, Belgium. Summary This article reviews the complex relationship between religion and film-viewing among the Moroccan diaspora in Antwerp (Belgium), an ethnically and linguistically diverse group that is largely Muslim. A media ethnographic study of film culture, including in-depth interviews, a group interview and elaborate fieldwork, indicates that film preferences and consumption vary greatly along socio-demographic and linguistic lines. One particular religious film, however, holds a cult status, Ar Risalah (The Message), a 1976 historical epic produced by Mustapha Akkad that deals with the life of the Prophet Muhammad. The film’s local distribution is discussed, as well as its reception among the Moroccan diaspora. By identifying three positions towards Islam, different modes of reception were found, ranging from a distant and objective to a transparent and subjective mode. It was found that the film supports inter-generational religious instruction, in the context of families and mosques. Moreover, a specific inspirational message is drawn from the film by those who are in search of a well-defined space for Islam in their own lives. Key words: Film and diaspora, media ethnography, Moroccan diaspora, Islam, Ar Risalah, The Message, Mustapha Akkad, religion and media Introduction The media use of diasporic communities has received significant attention from a variety of scholarly fields, uncovering the complex roles that transnational media play in the construction of diasporic connectedness (both ‘internal’ among diasporic communities as well as with countries of origin, whether or not ‘imagined’), the negotiation of identity and the enunciation of socio-cultural belongings. -
MMF-2017 Katalog.Pdf
2 Welcome to MAFF Market Forum MAFF Market Forum 2 3 4 e city of Malmö Welcome to Malmö 5 7 Meet the experts Forum 40 41 Schedule Market Screenings 54 64 Critics Without Borders Nordic countries – Egypt 2017 Case Study / Beauty And e Dogs 70 CONTENT 1 General Manager Mouhamad Keblawi Photographer: Yazan Saad I WANT TO WISH YOU all a warm welcome to MAFF Market Forum 2017. We are both excited and proud to present our third edition of this unique and propitious industry platform. MAFF Market Forum was launched with the ambition to bring the two worlds together, intertwining them with a tailored program created to build partnerships in an intimate environment. We bring together producers, funders, distributors and lm professionals in order to foster a cultural exchange and expand the production landscape. MAFF Market Forum was sprung out of the same ambition as the festival itself; to promote the Arab lm industry, create a gender and cultural diversity in the lm industry, and of course - to ensure all stories get a chance to be heard and seen. Even before the implementation of the rst edition of MAFF Market Forum, we realized that the initiative would have a major impact. Said and done - today, after only two years, several Nordic-Arabic lm collaborations have been implemented and initiated through our platform. And when we say our platform, we include an incredibly important part of the success; the participants. We are beyond thrilled to every year welcome lm professionals from all over the world. is year is no exception, and some of the most signicant and inuential institutes and organizations from both the Nordic countries and the Arab world are attending. -
Film Genres, the Muslim Social, and Discourses of Identity C. 1935–1945
Article BioScope Film Genres, the Muslim Social, and 6(1) 27–43 © 2015 Screen South Asia Trust Discourses of Identity c. 1935–1945 SAGE Publications sagepub.in/home.nav DOI: 10.1177/0974927615586930 http://bioscope.sagepub.com Ravi S. Vasudevan1 Abstract This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. Keywords Muslim social, Mehboob, K.A. Abbas, Islamicate, oriental, Lahore This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. -
FS 300 from CINECITTÀ STUDIOS to REAL LOCATIONS: a JOURNEY THROUGH ITALIAN CINEMA MADE in ROME IES Abroad Rome – Language & Area Studies
FS 300 FROM CINECITTÀ STUDIOS TO REAL LOCATIONS: A JOURNEY THROUGH ITALIAN CINEMA MADE IN ROME IES Abroad Rome – Language & Area Studies DESCRIPTION: The course offers the unique opportunity to study Italian Cinema from the birth of Cinecittà Studios in 1937 to the present, visiting the settings, studios and real locations where some landmark films were shot. The selected movies share the characteristic of having being all filmed in Rome, which can be considered the capital of the Italian film industry. Therefore, Rome will be explored through the eyes of some of the most influential film directors and revealed as a source of inspiration for directors such as De Sica, Rossellini, Fellini, Scola, Monicelli, Pasolini, Leone, Moretti, Virzì and Sorrentino. The selected films will be discussed in class through an extensive historical analysis and a critical approach in order to understand the contribution of Italian cinema to the development of world cinema and the role of cinema in shaping of Italian society and culture. Students will visit the locations used to shoot the movies analyzed in class in order to understand how they were filmed and to learn the specific elements of film language and film techniques utilized by the different directors. CREDITS: 3 CONTACT HOURS: 45 LANGUAGE OF INSTRUCTION: English PREREQUISITES: None METHOD OF PRESENTATION: Lectures, screenings, individual or group film watching at IES multimedia lab after class, course- related trips, use of multimedia and Internet resources for research purposes, film analysis and class debates on main Italian film directors and their work. REQUIRED WORK AND FORM OF ASSESSMENT: • Class participation - 10% • Film review – 20% • Oral presentation of film review – 10% • Midterm exam – 30% • Final exam – 35% Film Review on movie chosen by the student Students will analyze a chosen film from a technical and critical point of view and will contextualize the movie in its director’s life and artistic career. -
Neorealism and Magic Realism in Cinema
Neorealism and Magic Realism in Cinema Italian Neorealism is one of the most influential, visually distinctive and thematically challenging wave in the history of cinema. The worldwide turmoil that shaped the neorealistsʼ visions then, can be traced in every aspect of the films produced during the very short time neorealism went on. The revolutionary changes and possibilities this wave emerged led other genres and waves to be born, like French New Wave. This course aims to focus on the Italian Neorealism, the thematic and stylistic aspects of the wave by analysing the films of the most significant directors of the time. Once the roots of the Neorealism is fully established and the means and ways are absorbed, the course will shift to discover the magic realism that replaced realism in the European cinema of 1950s. The course will get to the root of the magical realism and similar tendencies in the cinema and the literature that procreated the magic realism definition in the first place. The course will also feed from Surrealism and Psychological Realism. During the semester, substantial works of literature and painting will be visited in order to get a broader understanding of different approaches of realism. Course Requirements: The course will be carried out with a series of discussions every week and to participate to the discussions in class, every student must watch the film (or films) of the week. Being a participator in the class is the most important requirement of the course. :::Attention::: • The course starts on the first week, and although the first two weeks are ʻadd-dropʼ weeks, if you miss a class even in the beginning of the course, please drop the course, or donʼt take it in the first place. -
Pavia Corpus of Film Dialogue
PAVIA CORPUS OF FILM DIALOGUE The Pavia Corpus of Film Dialogue (PCFD) is a parallel and comparable corpus made up of original Italian films and original English films together with their dubbed Italian translations. The corpus was created at University of Pavia where it has been developed since 2005 to investigate translated and non-translated audiovisual dialogues on their own, in parallel and contrastively. MAIN AIMS OF THE CORPUS The PCFD has been conceived as a flexible tool for analysing and comparing film language and audiovisual translation, with a focus on the English-Italian language pair. The corpus allows the pursuit of several objectives. Moving from a target- language orientation to dubbing, a systematic study can be carried out of linguistic, sociolinguistic, pragmatic and translational phenomena to ultimately delineate a profile of contemporary dubbed Italian. The component of the Anglophone original dialogue can also be inspected independently of its dubbed counterpart to look for conversational features and uncover their specific functions. The comparable component comprising original Italian productions makes it possible to draw comparisons between dubbed and original Italian films and between English and original Italian films. As the films included in the corpus cover a time span of almost 30 years (from 1990 to 2017), the PCFD is also suitable for short-term diachronic studies. Finally, the corpus can be exploited for language learning purposes. DESIGN AND CHARACTERISTICS OF THE CORPUS The PCFD has been developed over three main phases and is conceived as a monitor/open corpus to be expanded over time with the addition of other films. -
1 Revisiting the Past As a Means of Validation: Bridging the Myth of The
1 Revisiting the Past as a Means of Validation: Bridging the Myth of the Resistance and the Satire of the Economic Miracle in Two Comedies “Italian style” Giacomo Boitani, National University of Ireland, Galway Abstract: Many commedia all’italiana filmmakers have acknowledged the neorealist mode of production as a source of inspiration for their practice of pursuing social criticism in realistic and satirical comedies between 1958 and 1977. The detractors of the genre, however, have accused the commedia filmmakers of “diluting” the neorealist engagement to a simple description of the habits of Italians during the Economic Miracle, a description which threatened to encourage, through the casting of popular stars, the cynical attitude it sought to satirise. In this article, I shall discuss how two commedia all’italiana directors, namely Dino Risi and Ettore Scola, produced two significant commedie, respectively Una vita difficile (1961) and C’eravamo tanto amati (1974), which bridged the Resistance setting, associated with neorealism, and the Economic Miracle setting of most commedie all’italiana in order to reaffirm their neorealist roots, thus revisiting the past as a response to the critical underestimation from which their cinematic practice suffered. Many filmmakers of the comedy “Italian style” genre (commedia all’italiana) have acknowledged Italian neorealism as a source of inspiration for their practice of pursuing social criticism in realistic and satirical comedies produced in the years between 1958 and 1977. For instance, comedy “Italian style” star Alberto Sordi said that of those involved in the genre that “our project was to reinvent neorealism and to take it in a satirical direction” (Giacovelli, Un italiano 110),1 while director Marco Ferreri stated that “the commedia is neorealism revisited and modified in order to make people go to the movies” (Giacovelli, Commedia 21). -
Quaderno Culturale
QUADERNO CULTURALE Queens College Italian Program Newsletter | Numero 8 | Department of European Languages & Literatures | Late Spring 2016 Guida alla lettura: An Introduction to Numero Otto L’ottavo numero di Quaderno Culturale The eighth issue of Quaderno Culturale contiene informazioni sui corsi autunnali features an outline of courses that will be IN THIS ISSUE offerti dal programma di italiano a offered by the Italian Program at Queens Queens College nel semestre autunnale College in Fall 2016: Elementary, Career Quest 2016: corsi di lingua e letteratura italiana Intermediate, and Advanced Italian a livello principiante, intermedio, e language and literature courses; 4 avanzato; corsi “writing-intensive” e corsi writing-intensive courses and courses sulla cultura italiana insegnati in inglese; on Italian culture taught in English; and corsi di Master. Nella sezione Career MA-level courses. In “Career Quest,” Quest, la Prof.ssa Eugenia Paulicelli ci Prof. Eugenia Paulicelli introduces us to presenta 3 studentesse venute dall’Italia four students—three from Italy and one e una studentessa di letteratura inglese graduating in English literature—who che hanno studiato nel nostro programma decided to further their studies in our Andiamo al cinema! di Master’s e al Graduate Center di MA Program as well as in the program CUNY. Alexandra De Luise, bibliotecaria at the Graduate Center. Alexandra De 8 responsabile della sezione di italiano, Luise, the curator and bibliographer francese e greco moderno alla Rosenthal for French, Modern Greek, and Italian Library, parla con il Quaderno del suo at Queens College, talks to us about lavoro e di come è profondamente cambiato her job and how it has changed with con l’avvento della tecnologia.