And Last Updated on May 2, 2018 Notes and Suggestions from Chapt

Total Page:16

File Type:pdf, Size:1020Kb

And Last Updated on May 2, 2018 Notes and Suggestions from Chapt John S.W. Park Professor of Asian American Studies April 2018; and last updated on May 2, 2018 Notes and Suggestions from Chapter 2, The Kinetic Nation, Immigration Law and Society (Polity, 2018) In 2003, about a year after we moved to Santa Barbara, we took the kids to the Museum of Natural History. The curators had put together two or three entire rooms devoted to the Chumash Indians, the “original” inhabitants of the regions around Santa Barbara. They’d placed the Chumash in rooms adjacent to the ones devoted to the natural world, as it must have appeared to European settlers—in one room, there were stuffed versions of the snowy plover, the Channel Island fox, black and brown bears, and sea otters, and then in the next, there were statues of Chumash people, some sitting and weaving baskets, and others lining their canoes with the oil that seeped from the sea beds nearby. One gets the sense, after walking through the Museum, that once the Europeans arrived, the plovers, foxes, bears, otters, and Chumash were all in big trouble. The Museum of Natural History showed how the region once looked, “naturally,” before it was all swept away.1 It all happened so slowly at first, and then it was fast: Juan Cabrillo, a Portuguese captain, was the first European to sail his vessel in and around the harbors of Santa Barbara and Goleta. He arrived in October 1542. In the late 18th century, the Franciscan fathers made their way into what was Alta California—beginning in 1769, Father Junipero Serra and his friars established a set of missions from San Diego to Sonoma, California. Just before the last mission was built in 1823, however, Alta California became part of Mexico, only to become part of the United States just twenty-five years later. California’s population doubled every ten years—people came from everywhere, by land, by rail, and by sea. When lots of Chinese people came, white folks in California freaked out. Legislators from this state pushed hard for a Chinese Exclusion Act, passed in Congress in 1882. In graduate school, I studied the origins of this rule, and so that was how I became an Asian Americanist. In 1913 and in 1920, the California state legislature and California voters decided separately that families like mine—people of Asian descent—should not buy or own land in the state of California, but shortly after World War II, the United States Supreme Court struck down these Alien Land Laws, such that by 2002, my wife Gowan and I purchased the house on Cambridge Drive in an uneventful sale. In the language of another time, my family and I were “Orientals,” and “aliens ineligible for citizenship.” Not fifty years ago, our children would not have been allowed to attend integrated schools; Gowan and I, being born in Korea, would not have been able to pass into American citizenship, and then vote; and as “aliens ineligible for 1 citizenship,” we would not have been allowed to purchase property in the state of California. I suppose it was progress, that none of these things were true for us in 2002. But there were other truths too disturbing to ignore: even though my family and I had nothing to do with the original displacement of the Chumash, we got to own a small parcel of what was once their land. I was an Assistant Professor of Asian American Studies, and I started teaching Asian American Studies 2 in 2002. The oldest Chumash settlements date to about 13,000 years ago; Cabrillo got here less than 500 years ago; and California became part of the United States about 170 years ago. I’ll be 48 years-old in May 2018. None of this is a long time, and so it’s endlessly fascinating to consider how the present connects to the past. * * * * * Imagine being a Chumash person in October 1542. What did it feel like, making baskets and lining canoes, much like your ancestors had done for thousands of years, and then seeing off of the coast a largish ship with big sails? As these unidentified floating objects got closer, you might see strange, funny looking people who didn’t look at all like any other people you’d seen before. These circumstances had happened before—strange ships, odd looking people, even magnificent beasts that were unfamiliar, especially horses. In the Bahamas, or in Massachusetts or in Jamestown, native people encountered Europeans and their animals (and their germs). But each time, such events, from the perspective of native peoples, must have felt so disorienting, frightening, and terrifying—did they think that their lives could remain the same, and then how did they cope, over time, with the sinking reality that nothing would ever be the same? Try it yourself: tomorrow, if strange beings came to Earth in unidentified flying objects, how would we react? How would you react? What might your parents recommend for you? Would life go on, or would things just never be the same? I wonder how many of you would continue to do the readings for my class. Imagine if the space aliens had advanced weapons systems, if they vaporized an earthling or two, if they acted as though they were superior beings (after all, they found us, not the other way around), and if they came with exotic religious beliefs, and then demanded that we believe them or die. What if they also brought exotic, alien space germs that casually wiped out thousands of human beings who came in contact with them. In the midst of all that death, what if the aliens were indifferent, because it meant fewer earthlings and more Earth for them. If things did unfold in this way, well, I might advise you to skip your homework, go home and be with your families. And why? It’s because I’ve been a student of American history, and that history would suggest that these beings will have their way, and that even if a few aliens might have great empathy for what was happening to the earthlings, we’d be lucky if some of us even survived their arrival, luckier still if they chose to settle and started calling this planet their home. It’s a thought experiment, but it’s more familiar than you might think. It’s true, that most Americans do not think deeply or daily, I think, about Native Americans, about the Chumash, or the Massachusetts, or the Chicago Blackhawks, or the Florida Seminoles, or the Cleveland 2 Indians, and yet I do think that Americans have imagined themselves suffering similar fates in their science fiction, in their collective obsessions with UFOs, in their movies and books and other cultural productions. It seems that every year, in another blockbuster or bestseller, Americans imagine a technologically advanced civilization doing to them what they once did to other unsuspecting people. The space aliens use probes, they reduce people to animals or things, they turn us into slaves or into raw materials, and they kill and vaporize without a care. Once in a while, we get an E.T., a gentle alien botanist, but then the same director imagines an apocalypse set in America, a war of the worlds. Just like in the original novel, published by H.G. Wells in 1898, human beings only survive this war because the aliens died—they had no immunity to our earthly germs—and yet this was exactly the opposite of what had happened when Europeans came to the Americas. It’s a radical way to think about immigration, as a kind of trauma and displacement, a helplessness in the midst of a powerful, indifferent other, huge in number, well-armed, and arriving on your head and rearranging everything. European migrations traumatized the original inhabitants of North and South America. Perhaps that history—our history—has left a profound, indelible, and recurring imprint on the American imagination.2 If space aliens did arrive, and gradually and then suddenly took over as the Europeans took over, perhaps in time the aliens might establish their own Museum of Natural History, a version of the Earth from the time when they found it, so that younger space aliens could see how primitive this planet once was. There might be dioramas of you and me in Embarcadero Hall or in Girvetz Hall, with the same PowerPoint presentation repeating over and over again. To be truly realistic, a few of my students would be paying attention to their social media feeds, rather than paying attention to the lecture. Generally, though, to keep the diorama safe for families, there might be no exhibits about the vaporizing and mass die-offs of human beings, because showing things how they really were—that would just be too upsetting for the younger space alien children. When my children were in their twos and threes, I did not want them to see the Chumash depicted as the slaves of the friars, or buried in big dead heaps, their bodies black with pox and measles. Such dioramas would have required too much explanation, and I’m sure that my children at that age would not have understood or appreciated the frightening events that the Chumash had suffered. * * * * * If Native Americans experienced the Europeans as a collective trauma arising from migration, then we might also consider how Europeans forced Africans to come to the New World in the most awful way. Europeans brought Africans in chains. Over hundreds of years, Europeans brutalized Africans in the most haunting conditions, and they sold them into lives that were unspeakably bleak and terrible.
Recommended publications
  • Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
    Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem.
    [Show full text]
  • Deconstructing Willy Wonka's Chocolate Factory: Race, Labor
    Chryl Corbin Deconstructing the Oompa-Loompas Deconstructing Willy Wonka’s Chocolate Factory: Race, Labor, and the Changing Depictions of the Oompa-Loompas Chryl Corbin Mentor: Leigh Raiford, Ph.D. Department of African American Studies Abstract In his 1964 book Charlie and the Chocolate Factory Roald Dahl de- picts the iconic Oompa-Loompas as A!ican Pygmy people. Yet, in 1971 Mel Stuart’s "lm Willy Wonka and the Chocolate Factory the Oompa- Loompas are portrayed as little people with orange skin and green hair. In Dahl’s 1973 revision of this text he depicts the Oompa-Loompas as white. Finally, in the "lm Charlie and the Chocolate Factory (2005) Tim Burton portrays the Oompa-Loompas as little brown skin people. #is research traces the changing depictions of the Oompa-Loompas throughout the written and "lm text of the Charlie and the Chocolate Factory narra- tive while questioning the power dynamics between Willy Wonka and the Oompa-Loompas characters. #is study mo$es beyond a traditional "lm analysis by comparing and cross analyzing the narratives !om the "lms to the original written texts and places them within their political and his- torical context. What is revealed is that the political and historical context in which these texts were produced not only a%ects the narrative but also the visual depictions of the Oompa-Loompas. !e Berkeley McNair Research Journal 47 Chryl Corbin Deconstructing the Oompa-Loompas Introduction In 1964 British author, Roald Dahl, published the !rst Charlie and the Chocolate Factory book in which the Oompa-Loompas are depicted as black Pygmy people from Africa.
    [Show full text]
  • Concert Introductions
    CINEMA IN THE PARK DOLLAR BANK CINEMA IN THE PARK Schenley Park, Flagstaff Hill Sundays and Wednesdays, June 8 – August 31 dusk June 8 ......................................................... Here Comes the Boom (PG) June 11 ....................................................... Man of Steel (PG-13) June 15 ........................................................ The Little Mermaid (G) June 18 ........................................................ Iron Man 3 (PG-13) June 22 ....................................................... Monsters University (G) June 25 ........................................................ Gravity (PG-13) June 29 ........................................................ E.T. the Extra-Terrestrial (PG) July 2 ........................................................... Last Vegas (PG-13) July 6 ........................................................... Space Jam (PG) July 9 ........................................................... Thor: The Dark World (PG-13) July 13 ........................................................ Despicable Me 2 (PG) July 16 ......................................................... Saving Mr. Banks (PG-13) July 20 ........................................................ Mary Poppins (not rated) July 23 ......................................................... The Hunger Games: Catching Fire (PG-13) July 27 ......................................................... Big Miracle (PG) July 30 ......................................................... 42 (PG-13) August 3......................................................
    [Show full text]
  • Booking the Trend! Champions
    NEWSLETTER INSIDE THIS ISSUE: I S S U E 3 7 EASTER 2018 Year 7 Girls Football Booking The Trend! Champions BBC School News Report Adswood Primary Students’ Science Visit S tudents and staff at Mr Clarke organised a student costume category Stockport Academy went all golden ticket competition for his Mad Hatter fancy Principals’ 2 with students having the dress. Both winners Message out for World Book Day this year—and were determined chance to win a new book received new Kindles! Hegarty 3 following a frantic search of not to let the bad weather Head of English Mrs Upton Maths Visit his bookshelves! spoil the fun! said: “The atmosphere Students also received book around school has been World Book 4 In what is now a time- tokens, while teachers absolutely brilliant and it Day Photos honoured tradition, everyone could dress up as shared what their favourite has been great to see the Sport Relief titles are during assemblies. effort that everyone has 5 their favourite literary gone to in celebrating World Performing character, with some At lunch, the judging of the 7 Book Day. Arts excellent efforts making student and staff costume Showcase their way into school. Have competition took place, “What is really encouraging a look through the photo with Ms Keough winning is that students are now Young Carers 8 gallery on Page 4 to see first place among the staff borrowing more books from Day some of the costumes. for her Willy Wonka the library than ever before Steel Band 10 costume (she managed to and they clearly can’t get As you might expect, the convince her entire GCSE enough of reading.
    [Show full text]
  • Junior Claus
    Scene 1: Santa’s Workshop Scene 8: Back to the Workshop, In the Sky *Overture/Dawn in the Workshop/The Great North Pole *Saving Christmas *All Thanks to Me *Humbug ----------INTERMISSION--------------------------- Scene 2: The Snow-Covered Plains *A Different Point of View *Making Make Believe *Making Make Believe Reprise Scene 9: A Child’s Bedroom *Taylor’s Song Scene 3: The Workshop *Won’t Be a Christmas This Year Scene 10: Back to the Rooftop Scene 4: Back to Junior and Pengy Scene 11: Back to the Workshop *Grumpo’s Commercial Scene 5: The Workshop *The New North Pole Scene 12: The Workshop *Finale Scene 6: Back to the Snow-Covered Plains *Curtain Call Scene 7: Back to Chipper and Pengy Director: Evan Hamlin Production Board: Barbara Bohley, Jenny Bennett Artistic Director: Robin Byouk Actor Coordinator: Lucy Smith Choreographer: Lily Smith Sound Board Operator: Ron Barredo Music Director: Lexi Howard Mic Monitors: Ron Barredo, Jenny Bennett Stage Manager: Jessie Vinkemulder Music & Cues: Lexi Howard Asst. Director: Lauren Bennett Master Electrician: Greg Trykowski Set Design: Grace Restine & Emily Clegg Lighting Designer: Greg Trykowski Set Construction/Paint: a lot of dedicated parents Asst. Lighting Designer: Erin Poinsette Prop Artists: Lauren and Jenny Bennett Light Board Operator: Erin Poinsette Costume Design: Jenny Bennett Run Crew: Jessie Vinkemulder, Lauren Bennett, Emma McDonald Costume Crew: Eena Pettaway, Cassie Yarborough, Linda Kerr Volunteer Coordinator: Michele Turner And to all the parents, siblings, and friends not
    [Show full text]
  • Download a PDF of Volume 3
    UR FORBES & FIFTH The University of Pittsburgh Dietrich School of Arts and Sciences Undergraduate Magazine Vol. 3 Spring 2013 H SCHOOL OF A RIC RTS ET A DI ND E S H C T IE N C E S . R . .U O - OF CH FI AR CE SE OF RE FUNDERGRADUATE F Forbes & Fifth Offce of Undergraduate Research, Scholarship, and Creative Activity 209 Thackeray Hall 139 University Place Pittsburgh, PA 15260 Phone: 412-624-6828 Email: [email protected] Forbes & Fifth is published in April and December at: The Book Center 4000 Fifth Avenue, Pittsburgh, PA 15213. Copyright © 2013 by Forbes & Fifth Forbes & Fifth is a scholarly publication of the University of Pittsburgh. Authors hold the copyrights to their individual articles published by Forbes & Fifth. Copyright © 2013 by the University of Pittsburgh Acknowledgements Editor-in-Chief Emily Durham Editors Lindsay Bayne Terence O’Toole Katelyn Blough Patrick Rice Carly Dunning Rachel Stachelrodt Megan North Jacob Very The editors extend their appreciation to the following for their support: Julia Betts—Forbes & Fifth Cover Artist Dietrich School of Arts and Sciences Chris Cassady—Forbes & Fifth Illustrator Dietrich School of Arts and Sciences N. John Cooper, PhD—Bettye J. and Ralph E. Bailey Dean Dietrich School of Arts and Sciences Hali Felt—Instructor, Department of English Dietrich School of Arts and Sciences Jean Grace, PhD—Director Public and Professional Writing Program Laura Hillock, Esquire—Associate General Counsel Chong Hu—Forbes & Fifth Designer and Copy Editor Dietrich School of Arts and Sciences Juan J. Manfredi,
    [Show full text]
  • Edward, Charlie, Willy, Alice : La Quête Du Héros Burtonien
    UNIVERSITÉ DU QUÉBEC À MONTRÉAL EDWARD, CHARLIE, WILLY, ALICE : LA QUÊTE DU HÉROS BURTONIEN MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN COMMUNICATION PAR JÉRÔME BEN TOULA OCTOBRE 201 3 UNIVERSITÉ OU QUÉBEC À MONTRÉAL Service des bibliothèques · Ayertfssement La diffusion de ce mémoire sa fait dans le' respect dea droits da son auteur, qui a signé la formulaire Autorisation de repfoduire et de diffuser un travail de recherche de cycles c; upt1rleurs (SDU-522- Rév.01-2006). Cette autorisation stipule que <<conformément à l'article 11 du Règlement no 8 dea études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation at de . publication da la totalité ou d'une partie Importante de [son] travail de recherche pour des fins pédagogiques at non commerciales. Plus précisément, [l'auteur) autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de. [son) travail de rechercha à dea flns non commerciales sur quelque support que ca soit, y compris l'Internet Cette licence at cette autorisation n'entrainant pas une renonciation da [la) part (de l'auteur) à [ses) droits moraux ni à [sas) droits da propriété intellectuelle. Sauf ententé contraire, [l'auteur) conserva la liberté de diffuser et da commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je tiens à remercier dans un prenùer temps ma directrice de mémoire, Mme Catherine Saouter, professeur à l'École Des Médias de l'UQAM. Elle a su me conseiller et m' orienter dans mes recherches et ma rédaction.
    [Show full text]
  • Fattitude the Movie: Theory and Praxis of Creating a Documentary
    Fattitude The Movie: Theory and Praxis of Creating a Documentary that Examines Fat Representation and Fat Social Justice by Lindsey Averill A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL August 2017 Copyright by Lindsey Averill 2017 ii Acknowledgments On occasion, writing a dissertation feels like being lost in a desert sand storm. You’re alone; it’s ominous; the stakes are high and there is so much debris swirling around you that you can’t see the way through to where you want to be. Luckily, in this metaphoric desert scenario, you’re not trudging along, eyes down with no defense against the elements. In the desert storm that is a dissertation, you are lucky to be equipped with an intellectual and emotional support team who make weathering the storm possible. My journey to this moment was long, and those who picked me up and encouraged me to forge ahead were plentiful. There was of course my diligent, patient, and annoyingly intelligent dissertation committee: Dr. Jane Caputi, who threw open the doors of feminist theory for me, directed me towards my first fat studies paper and worked tirelessly to coach me on refining each and every chapter you see here; Dr. Taylor Hagood, who agreed to work with me even though we’d never met and took on my research like it was his own; Dr. Lisa Swanstrom, who makes me laugh while pushing me to think deeper and focus my theoretical ideas; and finally, A.
    [Show full text]
  • Metro Parent
    FREE NOVEMBER 2011 Could You Be a Foster Parent? Why You Need a Will Got (Breast) Holiday Milk? Gift Guide The 411 on Milk Banks Sisters Amber, Rose and Donna are currently in foster care. contents This Month in Metro Parent This Month on the Web: Serving the Families of the Portland Metropolitan Area Exclusively on Metro-Parent.com: Metro Parent Join our Holiday Giving Campaign! Metro Parent is P.O. Box 13660 again matching readers’ donations to JOIN – to enable a Portland, OR 97213-0660 local homeless family to get a new start – and to Mercy Phone: 503-460-2774; Fax: 503-331-3445 Corps – to help those suffering in the Horn of Africa. Publisher Read the details on page 8 – and then visit Metro- Martin Griffy, 503-460-2774 Parent.com to make a difference! [email protected] Enter to win a BIG basket of great baby items – Editor valued at over $400! Visit Metro-Parent.com/contest to Marie Sherlock, 503-460-2774 enter. Contest ends Nov. 30. [email protected] Read a Viewpoint column by Colleen Hermann-Fran- Managing Editor Emily Puro zen, of the American Lung Association of the Mountain [email protected] Pacific. Hermann-Franzen explains why and how to protect your children by creating a “smoke-free zone” in Calendar Editor your vehicle. Teresa Carson [email protected] Stay informed and connected all month long! Family Fun Editor • Sign up for our e-newsletter Sarah Pagliasotti • Follow “Metro_Parent” on TWITTER Contributing Writers • Become a fan of “Metro Parent (Portland, OR)” on Melissa Favara, Anne Laufe, Julia Silverman FACEBOOK Advertising Account Executives Amber (age 15), Rose (12) and Donna (11) are an amazing and resilient Westside/National/Outside Metro Area sibling group eager to find the security of a loving family.
    [Show full text]
  • MODERN LETTERS Te P¯U Tahi Tuhi Auaha O Te Ao
    INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯u tahi Tuhi Auaha o te Ao Newsletter – 8 December 2006 This is the 99th in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email [email protected] 1. Rugby script wins Embassy Trust Prize............................................................. 1 2. More scripting success......................................................................................... 2 3. Writing workshops (1): Short Fiction................................................................. 2 4. Writing workshops (2): Creative Non­Fiction.................................................... 2 5. Other lives............................................................................................................ 3 6. The loss of Oz Lit?............................................................................................... 3 7. The next half dozen.............................................................................................. 4 8. ‘Tis the season to be jolly (1) ............................................................................... 4 9. ‘Tis the season to be jolly (2) ............................................................................... 5 10. But wait, there’s more ....................................................................................... 5 11. Last call for Evil Advice!..................................................................................
    [Show full text]
  • 'Big Lebowski,' 'Willy Wonka' Among National Film Registry's Selections
    ‘Big Lebowski,’ ‘Willy Wonka’ Among National Film Registry’s Selecti... https://variety.com/2014/film/news/big-lebowski-willy-wonka-among-na... (https://variety.com/gallery/national-film-registry-library-of-congress-2014/#!&ref= /2014/film/news/big-lebowski-willy-wonka-among-national-film-registrys- 25-selections-1201380203/pos=) (https://variety.com/gallery/national- film-registry-library-of-congress-2014/#!1/bert-williams- lime-kiln-club-field-day-1913&ref=/2014/film/news/big- lebowski-willy-wonka-among-national-film-registrys- 25-selections-1201380203/pos=) 1 of 10 12/17/2014 2:07 PM ‘Big Lebowski,’ ‘Willy Wonka’ Among National Film Registry’s Selecti... https://variety.com/2014/film/news/big-lebowski-willy-wonka-among-na... (https://variety.com/gallery/national- film-registry-library-of-congress-2014/#!2/the-big-lebowski- 1998&ref=/2014/film/news/big-lebowski-willy-wonka- among-national-film-registrys-25-selections-1201380203 /pos=) DECEMBER 17, 2014 | 12:01AM PT “The Big Lebowski (https://variety.com/t/the-big-lebowski/),” “Ferris Bueller’s Day Off,” “Rosemary’s Baby,” “Saving Private Ryan” and “Willy Wonka and the Chocolate Factory (https://variety.com/t/willy-wonka-and-the-chocolate-factory/)” are among the 25 films saluted by the National Film Registry (https://variety.com /t/national-film-registry/) of the Library of Congress (https://variety.com/t/library- of-congress/) in the organization’s annual selection of notable works. The org says selection will help ensure preservation of these films. This year’s choices bring the registry total to 650, a small fraction of the Library’s vast collection of 1.3 million items.
    [Show full text]
  • Remake: Eficacia Del Cine Comercial La Creatividad Y El Dinero
    PROYECTO DE GRADUACION Trabajo Final de Grado Remake: eficacia del cine comercial La creatividad y el dinero Sara Herrera Cuerpo B del PG 23/07/2013 Cine y TV Ensayo Historia y tendencias 0 Indice Indice de figuras 3 Introducción 4 Antecedentes 8 Capítulo 1: El cine comercial 13-25 1.1. Reseña histórica 14-16 1.2. El cine comercial 16-17 1.2.1. Los estudios 17-18 1.2.2. Hollywood 19-20 1.2.3. El lenguaje cinematográfico 20-24 1.2.3.1. La puesta en escena 20-22 1.2.3.2. El montaje 22-23 1.2.3.3. El cine sonoro 23-24 1.3. Los géneros 24-25 Capítulo 2: El Remake 26-41 2.1. Como se entiende y lo que es 26-30 2.2. Tipos de Remake 30-52 2.2.1. Una historia dos filmes 32-33 2.2.1.1. La Secuela 33-35 2.2.2. Una historia una renovación 35-41 2.2.2.1. La Precuela 35-37 2.2.2.2. El Spin-off 37-38 2.2.2.3. Diferentes formatos 38-39 2.2.2.4. Diferentes cortes 39-41 1 Capítulo 3: El espectador 42-54 3.1. Espectador de la historia original 44-45 3.1.1. El espectador y la percepción audiovisual 45-48 3.2. Espectador del Remake 48-50 3.2.1. Espectador por primera vez 50-54 Capítulo 4: Análisis de Remakes 55-78 4.1. El hombre que no quería a las mujeres 55-56 4.1.1.
    [Show full text]