Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and tele vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr. -
Contents Curating Film
Issue # 03/10 : Curating Film Freely distributed, non - commercial, digital publication an artwork. The sound track (where it exists) often clashes in a disturbing manner with the other works on view in the same room. The typical cinema ar- rangement, consisting of a dark room, a film, a projection, and the audience, is so closely associated with the act of watching a film that is virtually seems like a must, and, unsur- prisingly, large, international art institutions are increas- ingly having their own cinemas built for the purpose of showing these works. The distinguished media theorist Christian Metz associates the space of the imagination, the space of pro- jection, with the present economic order: “It has often rightly been claimed that cinema is a technique of the imagin- ation. On the other hand, this technique is characteristic of a historical epoch (that of capitalism) and the state of a society, the so-called indus- trial society.”1 Scopophilia (pleasure in looking) and voyeurism are deeply inscribed in our society; in a cinema, the audience is placed at a voyeuristic distance and can unashamedly satisfy his cur- iosity. Passiveness, a play with identifications and a CONTENTS CURATING consumption-oriented attitude constitute the movie-watchers’ 01 Introduction position. Laura Mulvey moreover FILM calls attention to the fact that 02 The Cinema Auditorium the visual appetite is as much Interview with Ian White dominated by gender inequality as the system we live in.2 Natu- 04 The Moving Image rally, (experimental) films and Interview with Katerina Gregos INTRODUCTION the various art settings in which they are presented can 07 Unreal Asia and will violate the conventions Interview with Gridthiya Gaweewong and David Teh Siri Peyer of mainstream cinema from case to case. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
Electronic Media ' ' ^ ^ Unit-6 Film Studies 6.2 INTRODUCTION
UNIT 6: FILM STUDIES UNIT STRUCTURE 6.1: Learning objectives 6.2: Introduction 6.3: Film as a mass medium 6.3.1: Characteristics of film 6.3.2: Audience 6.3.3: Impact of film on audience 6.3.4: Film as an industry 6.3.5: Art and Commercial movie 6.3.6: Concept of film appreciation 6.4: Film in India 6.4.1: Regional film 6.4.2: Assamese film 6.4.3: A few important film makers of India 6.5: Central Board of Film Certification 6.6: Concept of documentaries 6.7: Let us sum up 6.8: Further readings 6.9: Answers to check your progress 6.10: Possible questions 6.1: LEARNING OBJECTIVES After going through this unit you will be able to • define film as a mass media and its various characteristics • analyze the impact of film on audience and their importance in film making • describe the history of Indian film • describe the history of Assamese film • differentiate between art film and popular film • define the concept of documentary Electronic Media ' ' ^ ^ Unit-6 Film Studies 6.2 INTRODUCTION After having discussed the new media and its other related aspects in the previous units, we will now discuss in this unit another very significant mass media in existence today. Being one of the oldest media of mass communication the importance of film can not be overemphasized. Hence, we will deal with this important media in this unit. The cinema, one of the marvels of the modern world, can be said to have come of age. -
Engendering ASEAN Identity: the Role of Film*
ERIA-DP-2015-75 ERIA Discussion Paper Series Engendering ASEAN Identity: The Role of Film* Jose Miguel R. de la ROSA Communication and Social Marketing Expert, Philippines November 2015 Abstract: The role of film, which is used here in generic terms to include audiovisual images as well as animation, in engendering the much-sought after Association of Southeast Asian Nations (ASEAN) identity is a necessary ingredient in the general framework of development leading to the realisation of the ASEAN Community. Film is an economic tool as it brings unquantifiable benefits to sectors participating in the industry. It is an effective information mechanism translating messages in more meaningful ways that appeal to the emotions. Film mirrors the cultural lives of people and reflects their heritage, values, and traditions. With the advancement in technology, film now comes in different platforms and formats, and is not confined to cinema or theatre. It becomes accessible through personal gadgets, the Internet, television (TV), cable TV, and digital versatile discs (DVDs). Thus, the reach and influence of films are vital in the people-oriented and people- centred agenda of an identity search and ensure that stakeholders down to the community level in all ASEAN member states (AMS) benefit from this approach. The ASEAN Socio-Cultural Community (ASCC) Blueprint clearly identifies the goals and strategies that AMS should support through the multilevel mechanisms in the Committee on Culture and Information (COCI), the Senior Officials Meeting Responsible for Information (SOMRI), and the ASEAN Ministers Responsible for Information (AMRI). This set of goals and strategies can be facilitated and implemented by collectively engaging government agencies in charge of film development in the AMS under the management of a technical expert group for this area and referred to as FILM ASEAN. -
War and Cinema
Theatres of Representation Discourses of War and Cinema Daniel Binns SID: 16123117 ! ! ! ! Doctor of Philosophy, 2013 University of Western Sydney Table of Contents Acknowledgements i. Dedication ii. Abstract iii. 1. Introduction – War and Cinema 1 2. Survey of the Field & Analytic Narrative 23 3. For Glory: World Wars I and II 58 4. Fear, Frustration, Paranoia: Vietnam 103 5. Live from the Front Line: Conflict in the Middle East 148 6. Extended Discourses of War: Video Games & Comic Books 192 7. Conclusion: Cycles of Violence, Repeat Performances 225 Sources 238 Appendix: Sample Film Analysis 254 Acknowledgements This thesis has felt, at times, like a battle. Now that the battle is over, I must take some time to thank my comrades-in-arms, without whom none of what you hold would have been possible. To the various people with whom I had personal correspondence or conversation during the course of this research, thank you for your time and expertise. These fine souls include, but are not limited to, Bill Nichols, Bruce Isaacs, Richard Smith, David Burchell, David Axe, Brendan Keogh, Elizabeth Roberts, and Hunter Cordaiy. Thanks to Jonathan Foye, and JT Velikovsky, for casting an objective eye over the piece in its final stages – and for your validation. To the employers who have graciously worked around my research commitments, continuing to further my experience in the film industry and academia, thank you. To my supervisors – Dr. Paul Ryder and Dr. Peter Dallow – your patience, commitment, wisdom, and good humour have been invaluable. It is needless to say that this document would not exist without you both. -
Between Bond and Bollywood – How the Tourism and Film Industries Can Benefit from Each Other
Between Bond and Bollywood – How the Tourism and Film Industries can benefit from each other Study for the Federal Trade Associations for the Tourism and Leisure Industries (Austrian Federal Economic Chamber - WKO Austria) St. Johann im Pongau (Salzburg), 4th April 2019 For instance, what do we associate with San Francisco… WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 1 Movies create images in our minds… WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 2 Are there similar examples in Austria? WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 3 Four Austrian examples WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 4 Four Austrian examples „Der Bergdoktor“/ „Die Rückkehr des Wiedehopfs“ „The Moutain Doctor“ (2008- / „The return of the Hoopoe“ 2019) (2012) 280,000 more summer visitors 585,000 viewers (shown on the (+27%) in the region Wilder Austrian Broadcasting Corporation) Kaiser/Tyrol – higher then the – sold in over 30 countries Austrian average growth „James Bond – Spectre“ (2015) „Minecraft Vienna“ 20 minutes of Austria and 9 minutes A full-scale replica of of Tyrol location placement for a Austria's capital city Vienna global audience for an open world sandbox game. WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 5 Prospectively, not only the channels cinema and TV will play a role… Forecasted global growth Streaming - Over- Cinema Television Video games the-top content (OTT) +30% +19% +6% - 1% Growth per -
Original Paper Nollywood: Indigenous Culture, Interculturality, and The
Communication, Society and Media ISSN 2576-5388 (Print) ISSN 2576-5396 (Online) Vol. 3, No. 1, 2020 www.scholink.org/ojs/index.php/csm Original Paper Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen Samba DIOP1* 1 Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway * Samba DIOP, Researcher, Center for Multilingualism in Society across the Lifespan, Faculty of Humanities, University of Oslo, Oslo, Norway Received: October 30, 2019 Accepted: November 12, 2019 Online Published: December 12, 2019 doi:10.22158/csm.v3n1p12 URL: http://dx.doi.org/10.22158/csm.v3n1p12 Abstract Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerians. Local languages are used in these films; however, English is the most prominent, along with Nigerian pidgin broken English. Many themes are treated in these films: tradition and customs, religion, witchcraft and sorcery, satire, urban and rural lives, wealth acquisition, consumerism, etc. I discuss the ways in which American popular culture is adopted in Nigeria and recreated on screen. -
Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. -
Monitor Newsletter June 19, 1989
Bowling Green State University ScholarWorks@BGSU Monitor University Publications 6-19-1989 Monitor Newsletter June 19, 1989 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/monitor Recommended Citation Bowling Green State University, "Monitor Newsletter June 19, 1989" (1989). Monitor. 973. https://scholarworks.bgsu.edu/monitor/973 This Book is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in Monitor by an authorized administrator of ScholarWorks@BGSU. Vol. XII., No. 46 Bowling Green State University June 19, 1989 Chang says change is inevitable Democracy message should go out to rural China Despite the fact that students in China have convince the rural populations ... against the government again, they will be received international attention from their But taking their message to the people will arrested. Education there is going to suffer demands for a democratic government, Dr. be difficult. After hundreds of thousands of because new ideas in the social science areas Stephen Chang, geography, doesn't think the students and sympathizers swarmed to Beijing and humanities will be stifled." world is going to see any radical changes soon in the past month to demand greater Chang does not believe the Chinese in the communist country. democratization and an end to nepotism and government will bow easily to international Chang was born in Shanghai, raised in Hong corruption, Premier Li Peng and President pressure againSt its actions. "Holding power is Kong and earned his doctorate at UCLA. He Yang Shangkun imposed maritial law.