DOCSLIB.ORG

Film-Philosophy Conference Programme 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FILM-PHILOSOPHY CONFERENCE 6-8 July 2016 #FilmPhil2016 Film-Philosophy Conference 6-8 July 2016 University of Edinburgh Conference Director Dr David Sorfa - [email protected] Conference Committee Dr Anna Backman Rogers, University of Gothenburg Dr Tarja Laine, University of Amsterdam Dr Richard Rushton, Lancaster University Dr Catherine Wheatley, King's College London Dr Daniel Yacavone, University of Edinburgh Conference Assistants Ellie Lewerenz, Tara Noonan, Chiara Quaranta, Chris Smurthwaite, Ioannis Tsirkas, Finn Daniels-Yeomans Venue: 50 George Square, Edinburgh, EH8 9LH Rooms: Ground Floor: G.03, G.04, G.05, G.06 First Floor: Project Room Keynote Lectures: G.03 Panel Presentations: G.03, G.04, G.05, G.06 Catering and Coffee: Project Room Publishers’ Tables: Project Room Dynamic Map: https://www.google.com/maps/d/edit?mid=1jqYpf-s0D9wIDSNczppRGQNNL98 Full details: http://www.film-philosophy.com/conference 1 WELCOME It gives me great pleasure to welcome you to the 9th annual Film-Philosophy Conference at the University of Edinburgh. Film-Philosophy is a conference, a journal and a community of scholars that has grown and developed substantially over the past decade. After many years of publishing our journal in a samizdat fashion, in January 2016 we joined forces with Edinburgh University Press and became EUP’s first fully Open Access journal. Film-Philosophy was started in the mid-1990s by Daniel Frampton and we would like to note that 2016 is also the tenth anniversary of the publication of his book Filmosophy with Wallflower Press. Our Editorial Board members and journal contributors work with many other academic presses and it is gratifying to see the way in which film-philosophy has become an established part of their publishing profiles as well as appearing as a subject in university syllabuses across the world. I would like to thank the conference committee for helping with the always difficult process of choosing papers for presentation, the conference assistants for helping with the smooth running of the conference, the various publishers who are here at the conference, the Editorial Board of Film-Philosophy and of course the University of Edinburgh and the School of Literatures, Languages and Cultures for allowing us to host the conference here. Thank you most of all for coming to the conference and supporting the work of Film- Philosophy and of the other scholars working in our field. Welcome also to the city of Edinburgh. We hope that you will have the opportunity to explore this wonderful city and its many delights, cinematic and otherwise. We have a dynamic map which you may find useful. https://www.google.com/maps/d/edit?mid=1jqYpf-s0D9wIDSNczppRGQNNL98 I would like to draw your attention to an exhibition by one of our PhD students, Isabel Rocamora, which is currently running at the Summerhall very near to us. The film exhibited, Faith, is also the subject of one of the papers at the conference (C.03). Please do not hesitate to ask me or any of conference assistants for any further help or advice you might need. David Sorfa Conference Director and Managing Editor of Film-Philosophy 2 50 George Square From Pollock Halls to 50 George Square 3 DAY 1: Wednesday 6 July 2016 6 July 2016 Venue Panel + Chair Presentation Titles Entrance / 9.30-11.15 Project Registration + Coffee Room 11.15-11.30 G.03 Welcome David Sorfa (Conference Director) Davina Quinlivan Broken Embraces: Filming the Body in Keynote 1 11.30-12.45 Crisis, Reparation and Resistance in G.03 Chair: Catherine Broken Embraces, Hunger and Exhibition: Wheatley Project 12.45-2.00 Lunch Room Panels A ● Stage Fright and the Plague of Fascination - Open Murray Pomerance A1 ● The Trouble with Comic Theory - Alex Clayton 2.00-3.30 Chair: Christian ● Dead Funny: Laughter, Life and Death in G.03 Keathley Philibert’s Nénette and Un animal, des animaux - Laura McMahon ● On pièce touchée: Physical and Ontological Touch - Chelsey Crawford Open A2 ● An Introduction to Tatiphysics: On Film- 2.00-3.30 Philosophy Without Platonism - John Ó Chair: William G.04 Maoilearca Brown ● Heart of a Dog (2015): Depth, Flesh and Film- Philosophies of the Fluid - Saige N Walton ● ‘Killing is not nearly as easy as the innocent believe’: Does Woody Allen Condone Murder? - Sander Lee A3 Existentialism ● Autopoietic Existentialism: Memory, Signification, 2.00-3.30 and Communicative Action in Christopher G.05 Chair: Daniel Nolan’s Memento - Daniel R White Shaw ● Nihilism, Miserabilism and Ambiguity in Art Cinema - Emre Çağlayan ● Remarriage of the Self; Clones and Cavell - Mashya Boon Ethics A4 ● The Melodrama of the Unknown Man: Serial 2.00-3.30 Drama, Genre and Po-ethics - Timna Rauch Chair: Oisín G.06 ● The Failed Education of the Woman in the Films Keohane of Robert Siodmak: Towards a Cavellian Concept of Film Noir - David Hayes, Peter Hajnal 4 3.30-4.00 Coffee Project Room (1st Floor) Panels B ● A Market of the Senses; Your Relations Are of Power:’ The Female Body as Decorative Object and Commodity in Sofia Coppola's Marie B1 Gender and Antoinette - Anna Backman Rogers Sexualities 4.00-5.30 ● The Crystalline and the Vegetable: Brigitte Bardot G.03 as the Doubled Aphrodite in Le Mépris - Oisín Chair: Keohane Michelle ● Body Hair, Embodiment and Film - Francesca Devereaux Minnie Hardy ● Contemplation as Utopia: James Benning and the Video Essays / Look of the Landscape - Daniele Rugo Essay Films B2 ● Futile Looking: Chantal Akerman's From The East 4.00-5.30 - Christopher Malcolm Chair: Kriss G.04 ● American Landscapes, American Pathologies: Ravetto The Films of James Benning - Nikolaj Lubecker ● Reenactment of Cinematographic Past: Complex Temporal Objects Situated Between Cinema and Contemporary Art - Lukas Brasiskis Film and the B3 ● Moving Images Posing as Pictures: Rethinking Other Arts 4.00-5.30 the Intermediality of the Cinematic Tableau - G.05 Ágnes Pethő Chair: Tarja ● Painting on Film: Cavell and the Quattrocento - Laine Peter Hajnal ● Three Iterations of An American Tragedy: Form and B4 Cinematic Quotation, Adaptation & Entertainment Evaluation 4.00-5.30 - Dominic Jaeckle G.06 ● Thinking Cinematically - Victoria Walden Chair: Dan ● The Elastic Set - Dennis Rothermel Yacavone 5 5.30-5.45 Break Panels C ● The Opposite of Faith: Film Style and the Miraculous in Stations of the Cross and Breaking the Waves - Catherine Wheatley Film and ● For a Phenomenology of the Temporality of the C1 Religion 5.45-7.15 Sacred: Matters of Style between Ayfré, Schrader and Dreyer's Representation of a Miraculous G.03 Chair: Event - Fabio Pezzetti Tonion Saige Walton ● Faith in Film: On Isabel Rocamora's Faith - Mark Cauchi ● Trials and Tribulations of Contingency-politics - Political Teet Teinemaa C2 Philosophy ● The L.A. Rebellion: A Politics of Love, A Politics 5.45-7.15 of Resistance - Jamie A Rogers G.04 Chair: Richard ● Trouble Breathing: neoliberal poetics in ’71 - Rushton Andrew Jarvis ● Philosophy Through Film: How Conceptions of Philosophy Influence This Possibility - Diana Neiva Global Film- C3 ● Film Philosophising: A Ricœurian Methodological Philosophy 5.45-7.15 Approach - Alberto Baracco G.05 ● That Obscure Object of Realism: Chinese Chair: James Docufiction as Ontological Fabulation - Bruno Harvey Lessard ● Into the Universe of (Three-Dimensional) Technical Images: Jean-Luc Godard's Flusserian 3D Cinema - Andrew Utterson C4 Open / Video ● Mapped and Monstrous Spaces in Digital 3D 5.45-7.15 Essays Cinema - Nick Jones G.06 ● ‘The Equalized Pulse’: Digital Humanities and Chair: Laura Videographic Essay Research - Christian McMahon Keathley Project 7.15-8.30 Welcome Drinks Reception Room 6 DAY 2: Thursday 7 July 2016 7 July 2016 Venue Track Presentation Titles 8.00-9.00 Coffee in the Project Room Panels D ● Palliative Island: Work in Progress - Steven Video Essays Eastwood D1 / Essay Films ● Defacing the Close-Up - Kriss Ravetto 9.00-10.30 ● Lovers in Time: An Essay Film as Practice G.03 Chair: Nikolaj Research in Times of Patriotic Journalism in Lubecker Harare - Agnieszka Piotrowska ● Towards a Feminist Dancefilm Philosophy: Martine Rousset's Carolyn - Ros Murray D2 Open ● Cinema as Gesture... Gesture as Politics - Adam 9.00-10.30 Kossoff G.04 Chair: ● Imagining a Form of Life in the Coils of the Davina Serpent: The Human Figure and Digital Cinema - Quinlivan Scott Birdwise ● The Fine Line: Existential Themes and Cinematic Metaphors in The Walk - Shai Biderman D3 Existentialism ● Roy Andersson's "Living Trilogy" and Cinematic 9.00-10.30 Metaphysics - Bob Hanke G.05 Chair: John ● Existential Jouissance in Leos Carax Holy Mullarkey Motors - Dario Llinares ● Towards an Authentic Representation of Conflict, Trauma, and the Bosnian War - James Keyes D4 Ethics ● Ethics, precarity and universalism in 9.00-10.30 Abderrahmane Sissako's Bamako - Kate Ince G.06 Chair: William ● The Torture of Etiquette/The Etiquette of Torture: Brown On Michael Haneke’s Funny Games - Daniel Varndell 7 Project 10.30-11.00 Coffee Room Panels E ● Akerman, Irigaray and the Figure of the Girl on Screen - Elspeth Mitchell ● Documenting Sex: Realism and Utopia in Feminist E1 Gender and Sexualities Pornography - Sara Janssen 11.00-12.30 ● The Maids of Dishonor: Unruly Bodies, G.03 Chair: Anna Embarrassment, and the “Womance” Genre - Backman Tarja Laine Rogers ● The Form of Form: Haneke, Malabou and Form and Plasticity - Ben Tyrer E2 Evaluation ● The Different Meanings of ‘Film Form’ - Melenia 11.00-12.30 Arouh G.04 Chair: ● On Our Filmic Body - Joerg Fingerhut, [Katrin Richard Heimann] Rushton ● An Ecosophy
Recommended publications
  • December 2014 ONECELEBRATEWITHUS Join the Celebration As We Usher in a New Year of Cinema in Iowa City

    December 2014 ONECELEBRATEWITHUS Join the Celebration As We Usher in a New Year of Cinema in Iowa City

    A COLLABORATION WITH DEC FilmScene Staff THE EYE OPENER 12-21 Joe Tiefenthaler, Executive Director Andy Brodie, Program Director Complete info at www.icfilmscene.org/flam Andrew Sherburne, Sunday, December 14th Associate Director A curated week of new releases and restored classics on literature, art and music. Tickets: $35 for non-members / $25 for members / Emily Salmonson, Series Pass: $30 non-members / $20 members. Regular price for individual shows. $15 for supporting role and leading role members Director of Operations / FREE for Founders Circle and Screen Legend Ross Meyer, Head Projectionist and Facilities Manager Join FilmScene in celebrating the one year Dan DeMarco, Theater Staff anniversary of the opening of our downtown Jon Graf, Theater Staff Aaron Holmgren, Theater Staff cinema with a delicious brunch of chicken & DIALOGUE: Director Q&A NEWLY RESTORED! NEWLY RESTORED! waffles, scrambled eggs with local cheeses, Phil Ochs, Theater Staff MUSIC OF THE BURROUGHS: ROME, OPEN CITY Tony Pomales, Theater Staff beignets, mini donuts, mimosas and a cash MOMENT THE MOVIE (1983) (2014) Dir. Roberto Emily Brown, Projectionist bar. While you eat, be entertained by music (2014) Dir. Kevin Wisor. Dir. Howard Brookner. Rossellini. Legendary Kelly Gallagher, Projectionist from the films of our first year and the Iowa A locally-made feature The first and only doc Italian drama about the Kasia Plazinska, Projectionist premiere of an acclaimed short film. doc exploring the art of made with the Nazi occupation of Board of Directors improvised music, shot full participation of writer Rome and the brave few Michael Finlayson, Chair FILMFOODDRINKSMUSIC in Iowa City. William S.
  • ENG 4136: Basic Video Production; Fall 2018 Professor: Trevor Mowchun

    ENG 4136: Basic Video Production; Fall 2018 Professor: Trevor Mowchun

    1 ENG 4136: Basic Video Production; Fall 2018 Professor: Trevor Mowchun Class: ROL 115—Monday, period 4 (10:40am-11:30am); Wednesday, periods 4-5 (10:40am-12:35pm) Screening: ROL 115—Tuesday, periods 9-11 (4:05pm-7:05pm) Office hours (TUR 4356): Monday 12:15pm-1:45pm, and Thursday 2:30pm-4:00pm, or by appointment. Email: [email protected] Should you prefer to contact me via email please allow 24 hours for a response. Office phone number: 352-294-2855 Media Assistant: Zackary Erickson (TUR 4303) Availability: August 27-September 9 (Monday and Wednesday 9:35am-10:25am, Tuesday and Thursday 12:50pm-2:45pm); September 10-end of semester (Tuesday and Thursday 12:50pm- 3:50pm). Zac will also be available the first Thursday of the class, August 23, between 12:50pm- 3:50pm. Email: [email protected] Basic Video Production: Process and Expression This course is a meditation on the creative process and an exploration of the unique and inexhaustible ways that the cinematic medium activates such processes and leads the imagination into free uncharted territory. We will begin with a survey of various creative principles, methods, tools and general philosophies of “making” as expressed by artists, teachers, critics and theorists from diverse backgrounds, with particular attention paid to the insights of independent and experimental filmmakers. The goal of this “study phase” is to open a window into the inner workings of the creative process, analyze films from the perspective of their own making, and ultimately enrich, stimulate and guide creativity throughout the entire filmmaking process from concept to screen.
  • Sight & Sound Films of 2007

    Sight & Sound Films of 2007

    Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
  • 36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18)

    36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18)

    36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18) • No children are allowed. • Unified prices for all tickets: 20 EGP. • 50% discount for students of universities, technical institutes, and members of artistic syndicates, film associations and writers union. • Booking will open on Saturday, November 8, 2014 from 9am- 10pm. • Doors open 15 minutes prior to screenings • Doors close by the start of the screenings • No mobiles or cameras are allowed inside the screening halls. 1 VENUES OF THE FESTIVAL Main Hall – Cairo Opera House 1000 seats - International Competition - Special Presentations - Festival of Festivals (Badges – Tickets) Small Hall – Cairo Opera House 340 seats - Prospects of Arab Cinema (Badges – Tickets) - Films on Films (Badges) El Hanager Theatre - El Hanager Arts Center 230 seats - Special Presentations - Festival of Festivals (Badges – Tickets) El El Hanager Cinema - El Hanager Arts Center 120 seats - International Cinema of Tomorrow - Short films Competition - Student Films Competition - Short Film classics - Special Presentations - Festival of festivals (Badges) Creativity Cinema - Artistic Creativity Center 200 seats - International Critic’s Week - Feature Film Classics (Badges) El Hadara 1 75 seats - The Greek Cinema guest of honor (Badges) 2 El Hadara 2 75 seats - Reruns of the Main Hall Screenings El Hanager Foyer- El Hanager Arts Center - Gallery of Cinematic Prints Exhibition Hall- El Hanager Arts Center - Exhibition of the 100th birth anniversary of Barakat El- Bab Gallery- Museum of Modern Art -
  • Julia Kristeva's 'Culture of Revolt' and (Post) Modern Religious Subjectivity

    Julia Kristeva's 'Culture of Revolt' and (Post) Modern Religious Subjectivity

    Julia Kristeva’s ‘Culture of Revolt’ and (Post) Modern Religious Subjectivity by Bonnie de Bruijn A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department for the Study of Religion University of Toronto © Copyright by Bonnie de Bruijn 2016 Julia Kristeva’s ‘Culture of Revolt’ and (Post) Modern Religious Subjectivity Bonnie de Bruijn Doctor of Philosophy Department for the Study of Religion University of Toronto 2016 Abstract This study offers a close reading of Julia Kristeva’s theories of ‘intimate revolt’ and ‘revolt culture’ and applies them to discussions of religious subjectivity. Decidedly non-militaristic, intimate revolt is reconceived in psychoanalytic and literary terms to mean an ongoing process of introspection and interrogation. The notion is derived from a multi-faceted and dynamic view of the mind, which, I submit, can broaden our conceptualization of religious subjectivity in popular discourse and vis-à-vis other psychoanalytic interpretations of religion. Indeed, Kristeva’s seemingly ambiguous treatment of Christianity is better understood in light of her theory of intimate revolt, which accepts and encourages working through competing ideas. Taking seriously the socio-political implications of intimate revolt, the overarching questions of this project are whether or not religion can fit into Kristeva’s vision of revolt culture, and, if so, what it might look like. I argue that, while she privileges aesthetic and psychoanalytic forms of revolt, Kristeva leaves open the possibility of intimate revolt in religion, particularly through her discussions of ‘the sacred’ and Christian mysticism. Finally, I survey progressive Christianity and John Caputo’s postmodern religion to identify potential examples of religious subjects who contribute to a culture of revolt.
  • Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia

    Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia

    Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX.
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices

    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
  • Phoenix Films 1999-2019/20 Sorted by Film Title 10

    Phoenix Films 1999-2019/20 Sorted by Film Title 10

    Phoenix Films 1999-2019/20 Sorted by Film Title Film Date Rating(%) 2046 1-Feb-2006 68 120BPM (Beats Per Minute) 24-Oct-2018 75 3 Coeurs 14-Jun-2017 64 35 Shots of Rum 13-Jan-2010 65 45 Years 20-Apr-2016 83 5 x 2 3-May-2006 65 A Bout de Souffle 23-May-2001 60 A Clockwork Orange 8-Nov-2000 81 A Fantastic Woman 3-Oct-2018 84 A Farewell to Arms 19-Nov-2014 70 A Highjacking 22-Jan-2014 92 A Late Quartet 15-Jan-2014 86 A Man Called Ove 8-Nov-2017 90 A Matter of Life and Death 7-Mar-2001 80 A One and A Two 23-Oct-2001 79 A Prairie Home Companion 19-Dec-2007 79 A Private War 15-May-2019 94 A Room and a Half 30-Mar-2011 75 A Royal Affair 3-Oct-2012 92 A Separation 21-Mar-2012 85 A Simple Life 8-May-2013 86 A Single Man 6-Oct-2010 79 A United Kingdom 22-Nov-2017 90 A Very Long Engagement 8-Jun-2005 80 A War 15-Feb-2017 91 A White Ribbon 21-Apr-2010 75 Abouna 3-Dec-2003 75 About Elly 26-Mar-2014 78 Accident 22-May-2002 72 After Love 14-Feb-2018 76 After the Storm 25-Oct-2017 77 After the Wedding 31-Oct-2007 86 Alice et Martin 10-May-2000 All About My Mother 11-Oct-2000 84 All the Wild Horses 22-May-2019 88 Almanya: Welcome To Germany 19-Oct-2016 88 Amal 14-Apr-2010 91 American Beauty 18-Oct-2000 83 American Honey 17-May-2017 67 American Splendor 9-Mar-2005 78 Amores Perros 7-Nov-2001 85 Amour 1-May-2013 85 Amy 8-Feb-2017 90 An Autumn Afternoon 2-Mar-2016 66 An Education 5-May-2010 86 Anna Karenina 17-Apr-2013 82 Another Year 2-Mar-2011 86 Apocalypse Now Redux 30-Jan-2002 77 Apollo 11 20-Nov-2019 95 Apostasy 6-Mar-2019 82 Aquarius 31-Jan-2018 73
  • Keeping up with the Psychoanalysts: Applying Lacanian and Feminist Theory to Reality Television

    Keeping up with the Psychoanalysts: Applying Lacanian and Feminist Theory to Reality Television

    University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2018 Keeping Up with the Psychoanalysts: Applying Lacanian and Feminist Theory to Reality Television Catherine E. Leary Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Leary, Catherine E., "Keeping Up with the Psychoanalysts: Applying Lacanian and Feminist Theory to Reality Television" (2018). UVM Honors College Senior Theses. 249. https://scholarworks.uvm.edu/hcoltheses/249 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. Keeping Up with the Psychoanalysts Applying Lacanian and Feminist Theory to Reality Television Catherine Leary University of Vermont Undergraduate Honors Thesis Film and Television Studies 2018 Committee Members Hyon Joo Yoo, Associate Professor, Film and Television Studies Anthony Magistrale, Professor, English Sarah Nilsen, Associate Professor, Film and Television Studies Leary 2 Acknowledgements I would like to thank Dr. Hyon Joo Yoo for her continued support and wealth of knowledge as my thesis supervisor as I worked my way through dense theory and panicked all year. I would also like to express my gratitude to Dr. Tony Magistrale for serving as the chair of my committee and encouraging me to have fun and actually delve into a Kardashian based project. I also greatly appreciate Dr. Sarah Nilsen’s help as my third reader and as someone who isn’t afraid to challenge theoretical applications.
  • Roger Ebert's

    Roger Ebert's

    The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
  • Columbia Filmcolumbia Is Grateful to the Following Sponsors for Their Generous Support

    Columbia Filmcolumbia Is Grateful to the Following Sponsors for Their Generous Support

    O C T O B E R 1 8 – 2 7 , 2 0 1 9 20 TH ANNIVERSARY FILM COLUMBIA FILMCOLUMBIA IS GRATEFUL TO THE FOLLOWING SPONSORS FOR THEIR GENEROUS SUPPORT BENEFACTOR EXECUTIVE PRODUCERS 20 TH PRODUCERS FILM COLUMBIA FESTIVAL SPONSORS MEDIA PARTNERS OCTOBER 18–27, 2019 | CHATHAM, NEW YORK Programs of the Crandell Theatre are made possible by the New York State Council on the Arts with the support of Gov. Andrew Cuomo and the New York filmcolumbia.org State Legislature. 5 VENUES AND SCHEDULE 9 CRANDELL THEATRE VENUES AND SCHEDULE 11 20th FILMCOLUMBIA CRANDELL THEATRE 48 Main Street, Chatham 13 THE FILMS á Friday, October 18 56 PERSONNEL 1:00pm ADAM (page 15) 56 DONORS 4:00pm THE ICE STORM (page 15) á Saturday, October 19 74 ORDER TICKETS 12:00 noon DRIVEWAYS (page 16) 2:30pm CROUCHING TIGER, HIDDEN DRAGON (page 17) á Sunday, October 20 11:00am QUEEN OF HEARTS: AUDREY FLACK (page 18) 1:00pm GIVE ME LIBERTY (page 18 3:30pm THE VAST OF NIGHT (page 19) 5:30pm ZOMBI CHILD (page 19) 7:30pm FRANKIE + DESIGN IN MIND: ON LOCATION WITH JAMES IVORY (short) (page 20) á Monday, October 21 11:30am THE TROUBLE WITH YOU (page 21) 1:30pm SYNONYMS (page 21) 4:00pm VARDA BY AGNÈS (page 22) 6:30pm SORRY WE MISSED YOU (page 22) 8:30pm PARASITE (page 23) á Tuesday, October 22 12:00 noon ICE ON FIRE (page 24) 2:00pm SOUTH MOUNTAIN (page 24) 4:00pm CUNNINGHAM (page 25) 6:00pm THE CHAMBERMAID (page 26) 8:15pm THE SONG OF NAMES (page 27) á Wednesday, October 23 11:30am SEW THE WINTER TO MY SKIN (page 28) 2:00pm MICKEY AND THE BEAR (page 28) 3:45pm CLEMENCY (page 29) 6:00pm
  • Fragments of the Past in Pedro Almodóvar's Broken

    Fragments of the Past in Pedro Almodóvar's Broken

    Oceánide 5 2013 Fecha de recepción: 27 diciembre 2012 Fecha de aceptación: 11 enero 2013 Fecha de publicación: 25 enero 2013 URL:http://oceanide.netne.net/articulos/art5-4.php Oceánide número 5, ISSN 1989-6328 The Shortcomings of Simulacra: Fragments of the Past in Pedro Almodóvar’s Broken Embraces Marcela T. GARCÉS (Siena College, New York, United States) RESUMEN: La obra de Pedro Almodóvar abarca una colección de temas y referencias a sus propias películas, al mismo tiempo que hace referencias a varios otros directores conocidos. Los abrazos rotos (2009) reproduce varias escenas de Mujeres al borde de un ataque de nervios. No obstante, las referencias a ésta en Los abrazos rotos nos dejan con una sensación de desencanto. Las referencias crean una fragmentación del pasado y en última instancia no cumplen con su meta original. La relación entre estas dos películas demuestra las debilidades inherentes en la reconstrucción de filmes dentro de otros filmes, lo cual se conecta con la idea de Baudrillard que el cine está constantemente cometiendo plagio a la hora de rehacerse. Palabras clave: Almodóvar, nostalgia, Baudrillard, flashback, Los abrazos rotos ABSTRACT: Pedro Almodóvar’s oeuvre encompasses a collection of themes and references to his own back catalogue, all the while referencing many other well-known directors. Broken Embraces (2009) refers to and re-enacts scenes from Women on the Verge of a Nervous Breakdown (1988). Yet the references to the latter in Broken Embraces fail to enchant, instead creating a fragmentation of the past and ultimately shifting from a breakdown to being simply broken.