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Scandinavian Cinema from the Silent Era Prof
© Lynn R. Wilkinson UGS302 (64115): Nordic Light: Scandinavian Cinema from the Silent Era Prof. Lynn Wilkinson to the 2000s COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Including films from Sweden, Denmark, and Iceland, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (20%); one storyboard (10%) accompanied by a five-page essay (20%); five quizzes (20%; you may drop the lowest grade); one class presentation (5%). Class participation will count 20%. REQUIRED TEXTS: Bordwell and Thompson: Film Art: An Introduction. 10th edition (2009) McGraw Hill: ISBN 10: 0073386162 Earlier editions on reserve: PN 1995 B617 2004 TEXT; PN1995 B617 2001 TEXT Recommended: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10: 0415081955 On Reserve: PN 1993.5 s2 s65 1998; also available as an electronic resource Braudy and Cohen: Film Theory and Criticism. 6th edition (FTC on syllabus) Oxford Univ. Press: ISBN 10 0195158172 On reserve: PN 1994 M364 2004 Mette Hjort: Purity and Provocation: Dogme 95 British Film Institute On reserve: PN1995.9 E96 P87 2003 Mette Hjort: Italian for Beginners University of Washington Press, 2010 PN 1997 I51555 H56 2010 Björn Norðfjörð: Dagur Kári’s Nói the Albino University of Washington -
Tonite the 6 Annual Queens World Film Festival Screens 30 Films And
FOR IMMEDIATE RELEASE: Media Contact : David Archer, DA Associates PR, 914-299 0837 www.queensworldfilmfestival.com Tonite the 6th Annual Queens World Film Festival Screens 30 films and Honors Filmmaker Melvin Van Peebles with the "Spirit of Queens" Award March 16th, 2016, New York, NY -- Each year, the Queens World Film Festival (QWFF) pays tribute to an outstanding filmmaker for his or her body of work. This year's "Spirit of Queens" Award goes to independent film director Melvin Van Peebles. Peebles is an American actor, director, screenwriter, playwright, novelist, painter and composer. Successful in every medium, Van Peebles is most famous for his movie Sweet Sweetback's Baadasssss Song , which heralded a new era of African-American cinema. It will be screened this evening Wednesday, March 16- 7pm at the Museum of the Moving Image (MOMI) in Astoria ,Queens, followed by a Q&A with the legendary Mr. Peebles, moderated by MoMI trustee Warrington Hudlin, founder of the Black Filmmaker Foundation. Twenty-nine other films will be screened this evening as well at the 3 other venues. Full Festival passes and Individual Tickets are on sale on line. For the full schedule and to view trailers please visit: www.queensworldfilmfestival.com To highlight the IndieCollect film preservation campaign, Susan Seidelman's 1982 movie, Smithereens, will be showcased at MoMI on Closing Night, Saturday, March 19. The Smithereens negative was found by the IndieCollect team in the vaults of DuArt Film & Video after DuArt closed its photo-chemical division, and was placed at the Academy Film Archive for safekeeping. IndieCollect, headed by QWFF board member Sandra Schulberg, is dedicated to saving independent films before they are lost due to neglect, lack of funding and/or faulty preservation strategies. -
Home Video Philology: Methodological Reflections
Special – peer-reviewed Cinergie – Il cinema e le altre arti. N.13 (2018) https://doi.org/10.6092/issn.2280-9481/7878 ISSN 2280-9481 Home Video Philology: Methodological Reflections Valerio Sbravatti Submitted: March 1, 2018 – Revised version: May 25, 2018 Accepted: June 15, 2018 – Published: July 12, 2018 Abstract Digital home video is an extremely useful means of watching and analyzing films. However, scholars often neglect the fact that official home video or streaming releases of a film can have differences from theoriginal version of the film itself. Such variances typically are lack of film grain (resulting from digital noise reduction), differences in color grading, and soundtrack remixing. This can depend on the fact that the technicians who work on home video releases are unprepared, or are instructed to adjust the look and the sound of the film to the current taste, or because the filmmakers changed their mind and requested some modifications. Atany rate, film scholars must be aware of such possible inconsistencies, otherwise their study could be fallacious. In this article I discuss upon philological problems of home video releases mainly from a practical point of view. Keywords: Blu-ray Disc; DVD; film fandom; film philology; film restoration. Valerio Sbravatti: Sapienza Università di Roma (It) https://orcid.org/0000-0002-0817-6129 [email protected] Valerio Sbravatti (1988) has a PhD in Music and performing arts at Sapienza University of Rome, where he is honorary fellow in film studies. His main research interests are film sound and film music, on which he published somearticlesand a book (Allegro non troppo. -
Now Thats What I Call 2008
Now thats what i call 2008 Now That's What I Call Music! 28 was released on June 3, The album is the 28th edition of the (U.S.) Now! series. It debuted at number two on the. Now That's What I Call Music! 69 or Now 69 is a compilation album that was released in the United Kingdom on 17 March The album is the 69th edition of. Now That's What I Call Music! 70 or Now 70 is a compilation album that was released on 21 July on Compact Disc and in digital download format. , Now That's What I Call Music! 30 (), Now That's What I Call Music! 31 ()Now That's What I Call Music! Professional ratings. Review scores. Source, Rating. AllMusic, /5 stars. Now That's What I Call Music! 30 was released on March 24, The album is the 30th. Now That's What I Call Music! 29 was released on November 11, The album is the 29th edition of the (US) Now! series and debuted on the Billboard Now That's What I Call Music! 26 was released on November 13, It is the 26th edition of the Now That's What I Call Music! series in the United States. Now That's What I Call Music! 27 was released on March 11, The album is the 27th edition of the Now! series in the United States. It debuted at number. This browser doesn't support Spotify Web Player. Switch browsers or download Spotify for your desktop. Now That's What I Call By Various Artists. -
End of Month
Newport News Tourism Development Office Fountain Plaza Two 700 Town Center Drive Suite 320 Newport News, VA 23606 757-926-1400 Toll Free 888-493-7386 Fax 757-926-1441 www.newport-news.org WHAT’S HAPPENING THIS WEEK NOVEMBER 6 - 12, 2015 PERFORMING ARTS BOLLYWOOD MASALA ORCHESTRA AND DANCERS OF INDIA: SPIRIT OF INDIA Ferguson Center for the Arts November 6; 8 p.m. The Bollywood Masala Orchestra and Dancers of India present Spirit of India, a new step toward a bold vision in Indian live music and dance! Rahis Bharti, one of India’s greatest musical figures, and the Bollywood Masala Orchestra and Dancers of India, invite you on a lively musical journey from Rajasthan to Mumbai that characterizes the incredible India we know today. With 17 professional artists onstage, you will experience the soul of a veritable feast of Indian sounds, featuring a mix of Indian and Western instruments such as bass drums, side drums, trombone, tabla, dholak, harmonium and clarinet, among many others. The Bollywood Masala Orchestra and Dancers of India give an authentic taste of the richness and excitement of Indian music. 1 Avenue of the Arts, 757-594-8752, www.fergusoncenter.org. PATTIE LABELLE Ferguson Center November 8; 7 p.m. “Beautiful” simply does not describe the incomparable force known to the world as Patti LaBelle. As time continues to evolve, the soulful songbird’s name has become synonymous with grace, style, elegance and class. Belting out classic rhythm and blues renditions, pop standards and spiritual sonnets have created the unique platform of versatility that Ms. -
History and Ethics of Film Restoration by Jeffrey Lauber a Thesis
History and Ethics of Film Restoration by Jeffrey Lauber A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Moving Image Archiving and Preservation Program Department of Cinema Studies New York University May 2019 ii ABSTRACT Film restoration and its products have been subjects of scrutiny and debate since the dawn of the practice. The process inherently bears an innumerable quantity of unresolvable uncertainties, a characteristic which has sparked discussions amongst archivists, restorers, scholars, critics, and audiences alike about the ethical implications of restoring motion pictures. This thesis contends that it would be both impractical and unproductive to impose a rigid set of ethical principles on a practice which so inevitably relies on subjectivity. Instead, it devises a more holistic understanding of film restoration practice and ethics to work towards a conceptual framework for film restoration ethics. Drawing from theoretical discourse and real-world case studies, this thesis examines the ways in which restorers have confronted and mitigated uncertainties in their work, and explores the ethical implications of their decisions. As an understanding of the philosophical and economic motivations behind film restoration provides essential foundational knowledge for understanding the evolution of its ethical discourse, the thesis begins by charting a contextual history of the practice before exploring the discourse and its core ethical concerns. iii TABLE OF CONTENTS Acknowledgements -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
Grey Morality of the Colonized Subject in Postwar Japanese Cinema and Contemporary Manga
EITHER 'SHINING WHITE OR BLACKEST BLACK': GREY MORALITY OF THE COLONIZED SUBJECT IN POSTWAR JAPANESE CINEMA AND CONTEMPORARY MANGA Elena M. Aponte A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Khani Begum, Advisor Kristen Rudisill © 2017 Elena M. Aponte All Rights Reserved iii ABSTRACT Khani Begum, Advisor The cultural and political relationship between Japan and the United States is often praised for its equity, collaboration, and mutual respect. To many, the alliance between Japan and the United States serves as a testament for overcoming a violent and antagonistic past. However, the impact of the United States occupation and the bombing of Hiroshima and Nagasaki is rarely discussed in light of this alliance. The economic revival, while important to Japan’s reentry into the global market, inevitably obscured continuing paternalistic interactions between Japan and the United States. Using postcolonial theory from Homi K. Bhahba, Frantz Fanon, and Hiroshi Yoshioka as a foundation, this study examines the ways Japan was colonized during and after the seven-year occupation by the United States. The following is a close assessment of two texts and their political significance at two specific points in history. Akira Kurosawa's1948 noir film Drunken Angel (Yoidore Tenshi) shaped the identity of postwar Japan; Yasuhiro Nightow’s Trigun manga series navigates cultural amnesia and American exceptionalism during the 1990s after the Bubble Economy fell into recession in 1995. These texts are worthy of simultaneous assessment because of the ways they incorporate American archetypes, iconography, and themes into their work while still adhering to Japanese cultural concerns. -
How the Nouvelle Vague Invented the DVD: Cinephilia, New Waves and film Culture in the Age of Digital Dissemination 2014
Repositorium für die Medienwissenschaft Malte Hagener How the Nouvelle Vague Invented the DVD: Cinephilia, new waves and film culture in the age of digital dissemination 2014 https://doi.org/10.14591/aniki.v1n1.61 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Hagener, Malte: How the Nouvelle Vague Invented the DVD: Cinephilia, new waves and film culture in the age of digital dissemination. In: Aniki. Portuguese Journal of the Moving Image, Jg. 1 (2014), Nr. 1, S. 73– 85. DOI: https://doi.org/10.14591/aniki.v1n1.61. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY 4.0 Lizenz This document is made available under a creative commons BY zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz finden 4.0 License. For more information see: Sie hier: http://creativecommons.org/licenses/by/4.0 http://creativecommons.org/licenses/by/4.0 How the Nouvelle Vague Invented the DVD: Cinephilia, new waves and film culture in the age of digital dissemination1 Malte Hagener2 The transformations of moving image culture brought about by the shift from analogue to digital have become an accepted fact by now. Many distinguished scholars have elaborated on different facets of these far-reaching changes.3 Apart from these important forays, many discussions of the ongoing transformations of moving image culture focus either on the novelty of the latest equipment or on the synergistic power of industry — both technological and economic perspectives are perfectly valid, but nevertheless limit the scope of inquiry in problematic ways. Whereas the currently emerging con- figurations of audiovisualcy in the age of digital networks are often addressed in terms of absolute novelty and innovation I want to shift the focus slightly, articulating instead the new in terms of the old.4 This essay therefore proposes the argument that it was within the Nouvelle Vague and the French film culture of the 1960s that the DVD was “invented”. -
Patti Labelle Singer and Actor Known for Her Passionate Stage Performances and Family and Friends Gave Labelle the Nickname Patsy
African Americans LaBelle, Patti L. L. Cool J.’s first role as an actor came in 1985 in a vancement of Colored People (NAACP). He received a film about the early days of Def Jam Recordings called Source Foundation Image Award for his philanthropy Krush Groove. The next year, he appeared in a film called and his work with JumpStart, a literacy program for low- Wildcats. Although he had only cameo appearances in income children. L. L. Cool J.’s longevity in the enter- both films, he won a starring role in Out of Sync in 1995. tainment industry is a testimony to his versatility and The film did not do well at the box office, but it did help talent. him earn a starring role in a sitcom called In the House. —Alison S. Burke The sitcom aired on NBC from 1995 to 1999. L. L. has appeared in several other films, including Halloween Further Reading H20 (1998), Deep Blue Sea (1999), Any Given Sunday Baughman, Brian. Hip-Hop: L. L. Cool J. Broomall, Pa.: (1999), Deliver Us from Eva (2003), S.W.A.T. (2003), Mason Crest, 2007. This biography for teenage read- and Last Holiday (2006). In 2009, L. L. Cool J. was given ers provides a general overview of the life of L. L. a prominent role as former Navy SEAL and special agent Cool J. and contains many full-color photographs Sam Hanna in the CBS drama series NCIS: Los Angeles. from different stages in his career. In addition to his music and acting careers, L. -
PURPLE = New Disc YELLOW = NEW MENU OR SUB MENU BLUE = NEW TRACK GREEN = NEW AUDIO STREAM RED = TOTAL AUDIO TRACKS CATALOGED GRAY = TOTAL VIDEO OPTIONS CATALOGED
PURPLE = New Disc YELLOW = NEW MENU OR SUB MENU BLUE = NEW TRACK GREEN = NEW AUDIO STREAM RED = TOTAL AUDIO TRACKS CATALOGED GRAY = TOTAL VIDEO OPTIONS CATALOGED Criterion Collection Disc 1 Videos In Sequence Video versions oF all 9 tracks on disc 1 available in stereo or Dolby surround as well as two different commentary tracks with 1 viewing option. Audio stream 1 cataloged as Videos In Sequence Audio stream 2 cataloged as Videos In Sequence (Dolby Surround Mix) Audio stream 3 cataloged as Videos In Sequence (Band Commentary) Audio stream 4 cataloged as Videos In Sequence (Director’s Commentary) 4 diFFerent Audio Streams have been Cataloged For this track. BeFore proceeding to Videos with supplements it should be noted that Dolby 5.1 is oFFered only For videos in sequence, NOT available For Videos with supplements. As a result, only audio From the videos in sequence will have tracks ultimately listed as “(Dolby Surround Mix)”. It should also be noted that for the sake of completeness, each individual track of the Videos With Supplements folder will include an audio stream For every angle available in the event that the audio was altered to sync to the available video. It is counterintuitive to think that the audio would have been altered rather than the video, but in pursuit of a deFinitive answer, as well as For the sake of completeness, each audio stream associated with each angle will be recorded and cataloged For comparison. Videos With Supplements Intergalactic This video is supplemented with 6 diFFerent Audio Tracks with 9 diFFerent viewing options, and 4 additional Audio Tracks with only 1 viewing option. -
Introduction: the Genre of the Non-Place: Science Fiction As Critical Theory 1. for Plato's “Allegory of the Cave,” See Th
Notes Introduction: The Genre of the Non-Place: Science Fiction as Critical Theory 1. For Plato’s “Allegory of the Cave,” see The Republic Book VII. 2. For a thorough analysis of science fiction’s origins, see Brian W. Aldiss and David Wingrove’s Trillion Year Spree: The History of Science Fiction (1986). 3. See William S. Burroughs’s Naked Lunch (1959), the Nova (Or Cut-Up) Trilogy (The Soft Machine [1961], The Ticket that Exploded [1962], and Nova Express [196 4]), The Wild Boys (1971), and the “Red Night” Trilogy (Cities of the Red Night [1981], The Place of Dead Roads [1983], and The Western Lands [1987]; Thomas Pynchon’s V (1963), Mason & Dixon (1997), and Against the Day (2006); John Barth’s Giles Goat-Boy; or, The Revised New Syllabus (1966); Don DeLillo’s White Noise (1985); Kathy Acker’s Don Quixote: Which Was a Dream (1986) and Empire of the Senseless (1988); Italo Calvino’s Cosmicomics (1965) or Invisible Cities (1972); David Foster Wallace’s Infinite Jest (1996); Mark Z. Danielewski’s House of Leaves (2000); and Jonathan Lethem’s The Fortress of Solitude (2003). 4. McHale derives this concept of “projecting worlds” from Thomas Pynchon’s The Crying of Lot 49 (1965). As Oedipa Maas begins to explore the potential existence of a secret mail system known as Tristero, she writes underneath the Tristero horn that she has copied off of a bathroom wall, “Shall I project a world?” (65). Here, Oedipa is contemplating the possible existence of an entire other pattern of reality of which she (and most of the world) remains unaware.