Film Studies Major
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Cinephilia Or the Uses of Disenchantment 2005
Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life. -
Viewing Film from a Communication Perspective
Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool. -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20). -
Success in the Film Industry
1 Abstract This paper attempted to answer the research question, “What determines a film’s success at the domestic box office?” The authors used an OLS regression model on data set of 497 films from the randomly selected years 2005, 2006, 2007, 2009, and 2011, taking the top 100 films from each year. Domestic box-office receipts served as the dependent variable, with MPAA ratings, critical reviews, source material, release date, and number of screens acting as independent variables in the final regression. Results showed that source material, critical reviews, number of screens, release date, and some genres were statistically significant and positively contributed to a film’s domestic revenue. Introduction Each year in the United States, hundreds of films are released to domestic audiences in the hope that they will become the next “blockbuster.” The modern film industry, a business of nearly 10 billion dollars per year, is a cutthroat business (Box Office Mojo). According to industry statistics, six or seven of every ten films are unprofitable, making the business risky at best (Brewer, 2006). Given this inherent risk, how do film studios decide which films to place their bets on? Are there common factors, such as critical reviews, MPAA rating, or production budget, which explain one film’s monetary success relative to another? This question forms the basis of this research project. To answer it, we estimated an Ordinary Least Squares regression that attempted to explain the monetary success of the top films in five years out of the past decade. This regression expanded our original dataset, which used 100 randomly selected films from 2004. -
Filmmaking High School 1AB High School
Filmmaking High School 1AB High School Course Title Filmmaking High School 1A/B Course Abbreviation FILMMAKING 1 A/B Course Code Number 200511/200512 Special Notes Course Description The purpose of this course is to provide a balanced visual arts program, which guides students to achieve the standards in the visual arts. In Filmmaking, students experience both the creative and technical aspects of filmmaking in conjunction with learning about historical and contemporary traditions. Story writing, story-based display, basic visual composition, and general reproduction skills will be included with camera techniques, animation, and line action planning. Traditional filmmaking traditions may be extended with video and multimedia technologies. Interdisciplinary experiences and arts activities lead to refining a personal aesthetic, and a heightened understanding of career opportunities in art and arts-related fields. Instructional Topics Historical Foundations of Cinema Aesthetic Decisions and Personal Judgment Introduction to Filmmaking and Multimedia Preproduction Planning Establishing a Theme Storyboarding and Scriptwriting Set, Prop and Costume Design Camera Techniques Design Elements in Cinema Sound, Lighting, Editing Live Action Filming Animation Techniques Documentation and Portfolio Preparation Careers in Cinema and Multimedia *Topics should be presented in an integrated manner where possible; time spent on each topic is to be based upon the needs of the student, the instructional program, and the scheduling needs of the school. California Visual Arts Content knowledge and skills gained during this course will support student achievement of Content Standards grade level Student Learning Standards in the Visual Arts. High School Proficient Upon graduation from the LAUSD, students will be able to: 1. Process, analyze, and respond to sensory information through the language and skills unique to the visual arts. -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM 252 - History of Documentary Film (4 Hours) FILM STUDIES (FILM) This course critically explores the major aesthetic and intellectual movements and filmmakers in the non-fiction, documentary tradition. FILM 210 - Introduction to Film (4 Hours) The non-fiction classification is indeed a wide one—encompassing An introduction to the study of film that teaches the critical tools educational, experimental formalist filmmaking and the rhetorical necessary for the analysis and interpretation of the medium. Students documentary—but also a rich and unique one, pre-dating the commercial will learn to analyze cinematography, mise-en-scene, editing, sound, and narrative cinema by nearly a decade. In 1894 the Lumiere brothers narration while being exposed to the various perspectives of film criticism in France empowered their camera with a mission to observe and and theory. Through frequent sequence analyses from sample films and record reality, further developed by Robert Flaherty in the US and Dziga the application of different critical approaches, students will learn to Vertov in the USSR in the 1920s. Grounded in a tradition of realism as approach the film medium as an art. opposed to fantasy, the documentary film is endowed with the ability to FILM 215 - Australian Film (4 Hours) challenge and illuminate social issues while capturing real people, places A close study of Australian “New Wave” Cinema, considering a wide range and events. Screenings, lectures, assigned readings; paper required. of post-1970 feature films as cultural artifacts. Among the directors Recommendations: FILM 210, FILM 243, or FILM 253. studied are Bruce Beresford, Peter Weir, Simon Wincer, Gillian Armstrong, FILM 253 - History of American Independent Film (4 Hours) and Jane Campion. -
The Film Auteur: Vision and Style
Module Title The Film Auteur: Vision and Style Programme(s)/Course BA Film Studies Level 4 Semester 1 Ref No: NEW Credit Value 20 CAT Points Student Study hours Contact hours: 48 Student managed learning hours: 152 Pre-requisite learning N/A Co-requisites N/A Excluded N/A combinations Module Coordinator TBC Parent Department Division of Film and Media, School of Arts and Creative Industries Parent Course BA Film Studies JACS Code W600 Description This module will examine the wide-ranging debates related to the film auteur through historical enquiry, theoretical investigation and comparative case studies. Students will explore the fraught relationship between film theory and the concept of the auteur, where the arguments against the film director-as-artist are set against the many instances of extraordinary ‘personal’ style and innovation in the cinematic medium. After exposure to the critical debates, students will analyse a series of case-studies to better understand the auteur in the context of the ‘classical’, the ‘postmodern’ and the ‘world cinema’ auteur. Finally, the module will also update the discussion by considering the impact of digital media on the idea of the film auteur. Aims The aims of this module are to To critically explore the concept of the auteur in terms of its historical origins and its contribution to film theory To relate authorship to the influence of the director working within diverse industrial, cultural and national contexts To apply different authorial approaches to the works of specific directors, such -
FM 201 Introduction to Film Studies: German Cinema
FM 201 Introduction to Film Studies: German Cinema Seminar Leader: Matthias Hurst Course Times: Monday, 14.00 – 15.30; Tuesday, 19.30 – 22.00 (weekly film screening); Wednesday, 14.00 – 15.30 Email: [email protected] Office Hours: Tuesday, 13.30 – 15.00 Course Description In this introductory class basic knowledge of film history and theory, film aesthetics and cinematic language will be provided; central topics are the characteristics of film as visual form of representation, the development of film language since the beginning of the 20th century, styles of filmic discourse, film analysis and different approaches to film interpretation. The thematic focus will be on German cinema with classical films by Friedrich Wilhelm Murnau, Fritz Lang, Leni Riefenstahl, Wim Wenders, Volker Schlöndorff, Rainer Werner Fassbinder, Margarethe von Trotta, Tom Tykwer and others, reflecting historical and cultural experiences and changes in German history and society as well as developments in aesthetics and cinematic style. Foundational module: Approaching Arts Through Theory Credits: 8 ECTS, 4 U.S. credits Requirements No prerequisites. Attendance is mandatory for all seminars and film screenings. Students are expected to come to seminars and film screenings punctually and prepared, to participate actively in the class discussions and to do all the course assignments on time. * Please, do not use cell phones, smart phones or similar electronic devices during seminars and screenings! Academic Integrity Bard College Berlin maintains the staunchest regard for academic integrity and expects good academic practice from students in their studies. Instances in which students fail to meet the expected standards of academic integrity will be dealt with under the Code of Student Conduct, Section III Academic Misconduct. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
Expanded Mockuworlds. Mockumentary As a Transmedial Narrative Style 2015
Repositorium für die Medienwissenschaft Cristina Formenti Expanded Mockuworlds. Mockumentary as a Transmedial Narrative Style 2015 https://doi.org/10.25969/mediarep/16508 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Formenti, Cristina: Expanded Mockuworlds. Mockumentary as a Transmedial Narrative Style. In: IMAGE. Zeitschrift für interdisziplinäre Bildwissenschaft. Themenheft zu Heft 21, Jg. 11 (2015), Nr. 1, S. 63– 80. DOI: https://doi.org/10.25969/mediarep/16508. Erstmalig hier erschienen / Initial publication here: http://www.gib.uni-tuebingen.de/image/ausgaben-3?function=fnArticle&showArticle=325 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above.