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Notes for Chapter Re-Drafts
Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010. -
Arts, Culture and Media 2010 a Creative Change Report Acknowledgments
Immigration: Arts, Culture and Media 2010 A Creative Change Report Acknowledgments This report was made possible in part by a grant from Unbound Philanthropy. Additional funding from the Carnegie Corporation of New York, Ford Foundation, Four Freedoms Fund, and the Open Society Foundations supports The Opportunity Agenda’s Immigrant Opportunity initiative. Starry Night Fund at Tides Foundation also provides general support for The Opportunity Agenda and our Creative Change initiative. Liz Manne directed the research, and the report was co-authored by Liz Manne and Ruthie Ackerman. Additional assistance was provided by Anike Tourse, Jason P. Drucker, Frances Pollitzer, and Adrian Hopkins. The report’s authors greatly benefited from conversations with Taryn Higashi, executive director of Unbound Philanthropy, and members of the Immigration, Arts, and Culture Working Group. Editing was done by Margo Harris with layout by Element Group, New York. This project was coordinated by Jason P. Drucker for The Opportunity Agenda. We are very grateful to the interviewees for their time and willingness to share their views and opinions. About The Opportunity Agenda The Opportunity Agenda was founded in 2004 with the mission of building the national will to expand opportunity in America. Focused on moving hearts, minds, and policy over time, the organization works closely with social justice organizations, leaders, and movements to advocate for solutions that expand opportunity for everyone. Through active partnerships, The Opportunity Agenda uses communications and media to understand and influence public opinion; synthesizes and translates research on barriers to opportunity and promising solutions; and identifies and advocates for policies that improve people’s lives. -
The Feminine Eye: Lecture 5: WATER: 2006: 117M
1 The Feminine Eye: lecture 5: WATER: 2006: 117m: May 2: Women Directors from India: week #5 Mira Nair / Deepa Mehta Screening: WATER (Deepa Mehta, 2005) class business: last class: next week: 1. format 2. BEACHES OF AGNES 3. Fran Claggett 2 Women Directors from India: Mira Nair: [Ni-ar = liar] b. 1957: India: education: Delhi [Delly] University: India Harvard: US began film career as actor: then: directed docs 1988: debut feature: SALAAM BOMBAY! kids living on streets of Bombay: real homeless kids used won Camera d’Or: Cannes Film Festival: Best 1st Feature clip: SALAAM BOMBAY!: ch 2: 3m Nair’s stories: re marginalized people: films: focus on class / cultural differences 1991: MISSISSIPPI MASALA: interracial love story: set in US South: black man / Indian woman: Denzel Washington / Sarita Choudhury 2001: MONSOON WEDDING: India: preparations for arranged marriage: groom: Indian who’s relocated to US: Texas: comes back to India for wedding won Golden Lion: Venice FF 2004: VANITY FAIR: Thackeray novel: early 19th C England: woman’s story: Becky Sharp: Witherspoon 2006: THE NAMESAKE: story: couple emigrates from India to US 2 kids: born in US: problems of assimilation: old culture / new culture plot: interweaving old & new Nair: latest film: 2009: AMELIA story of strong pioneering female pilot: Swank 3 Deepa Mehta: b. 1950: Amritsar, India: father: film distributor: India: degree in philosophy: U of New Delhi 1973: immigrated to Canada: embarked on professional career in films: scriptwriter for kids’ movies Mehta: known for rich, complex -
Audition How Does the 1999 Film Relate to the Issues That Japanese Men and Women Face in Relation to Romantic Pairing?
University of Roskilde Audition How does the 1999 film relate to the issues that Japanese men and women face in relation to romantic pairing? Supervisor: Björn Hakon Lingner Group members: Student number: Anna Klis 62507 Avin Mesbah 61779 Dejan Omerbasic 55201 Mads F. B. Hansen 64518 In-depth project Characters: 148,702 Fall 2018 University of Roskilde Table of content Problem Area ........................................................................................................................................... 7 Problem Formulation .............................................................................................................................. 9 Motivation ............................................................................................................................................... 9 Delimitation ........................................................................................................................................... 10 Method .................................................................................................................................................. 11 Theory .................................................................................................................................................... 12 Literature review ............................................................................................................................... 12 Social Exchange Theory .................................................................................................................... -
Sport De Rue Et Vidéo Avec Ph
Chapitre X DE LA RUE AU STADE : POINTS DE VUE CINÉMATOGRAPHIQUES Jean-Pascal FONTORBES1 MCF HDR Cinéma « L’instituteur au cours moyen me donnait des « bouffes » parce que j’arrivais de la récréation en sueur » (Jean Trillo, 2014, extrait d’entretien filmé). Nos travaux de création et d’analyse filmiques depuis notre première production en 1981 sont consacrés notamment au dévoilement des constructions identitaires personnelles et collectives, sociales, professionnelles, culturelles et sportives. Nos observations se centrent sur les interactions sociales. Le cinéma nous oblige à nous interroger sur la manière dont est représenté le monde dont sont mises en scène les identités. L’écriture cinématographique est pertinente pour la lecture audiovisuelle des récits et des pratiques. Les valeurs sportives n’existent pas indépendamment des acteurs. C’est à partir de l’empirie, des observations de terrain, des récits et des pratiques recueillis et filmés que nous tentons de comprendre comment le sport prend place dans la rue, dans l’espace public, dans l’espace ouvert et de saisir les mécanismes des constructions sociales et corporelles qui lui sont liés. Notre analyse est contextualisée : elle prend en compte des aires géographiques et culturelles différentes. Le premier film se situe dans un village du Sénégal et en France, le second en Argentine et d’abord dans la banlieue de Buenos Aires, le troisième dans un village des Landes. Nous nous intéressons, plus particulièrement, à l’enfance et à l’adolescence. Nous croisons pratiques sportives, jeunesse et lieux. Notre propos est construit à partir de trois extraits de films, deux documentaires et une fiction qui ont en commun de rendre compte de réalités vécues, à partir d’histoires de vie de trois sportifs de haut niveau : « Comme un lion » de Samuel Collardey, 2011 Mitri est un adolescent qui habite un village au Sénégal. -
A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R. -
Regressive Femininity in American J-Horror Remakes
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2015 Lost in Translation: Regressive Femininity in American J-Horror Remakes Matthew Ducca Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/912 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LOST IN TRANSLATION: REGRESSIVE FEMININITY IN AMERICAN J-HORROR REMAKES by Matthew Ducca A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2015 © 2015 MATTHEW J. DUCCA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the dissertation requirement for the degree of Master of Arts. Professor Edward P. Miller__________________________ _____________________ _______________________________________________ Date Thesis Advisor Professor Matthew K. Gold_________________________ ______________________ _______________________________________________ Date Executive Officer THE CITY UNIVERSITY OF NEW YORK iii Abstract Lost in Translation: Regressive Femininity in American J-Horror Remakes by Matthew Ducca Advisor: Professor Edward Miller This thesis examines the ways in which the representation of female characters changes between Japanese horror films and the subsequent American remakes. The success of Gore Verbinski’s The Ring (2002) sparked a mass American interest in Japan’s contemporary horror cinema, resulting in a myriad of remakes to saturate the market. -
Emir Kusturica Interview 2
PROFILE 5 I SUFFER SO MUCH MORE WHEN I AM WORKING BECAUSE I AM NOT AS TALENTED AS I BELIEVE I AM EMIR KUSTURICA Clash for a messy rendition of Police on My Back. “I liked [late Clash frontman] Joe Strummer be- cause he was against mainstream politicians and hypocrisy. He called our music ‘crazy Greek Jewish wedding music of the past and future’, which is still true,” says Kusturica. Part cultural Alamo, part Plato’s Republic, “People leave our concerts feeling incredibly Kustendorf has all that the civilised world con- Eclectic line-up from here, there and everywhere enthusiastic about life, at least for an hour. This tains: art, agriculture, internet, shops, debate. happened in Australia when we played a big Cats, dogs, geese … animals figure heavily in WOMADelaide serves up one of the most Godfrey Reggio film Koyaanisqatsi in an aural opera hall [the Sydney Opera House in 2008]. Kusturica’s cinematic oeuvre, providing sight eclectic line-ups on the Australian music and cinematic feast, while Argentina’s Friends we hadn’t seen for a long time were very gags, reinforcing the animalistic nature of hu- calendar and this year’s roster is no different. Orquesta Tipica Fernandez Fierro delivers its proud. Australians who had seen Black Cat, mans but also highlighting characteristics such There is a wealth of riches over the four days vibrant and confronting take on the tango White Cat were very enthusiastic. as instinct and empathy, which the filmmaker across all manner of genres and from all points tradition. Ska also gets a guernsey in the form “Our music has patterns that create a Dionys- feels we have lost. -
Un Film De Amos Gitai
Agav Films présente Tsili Un film deAmos Gitai Adapté du roman d’Aharon Appelfeld AGAV FILMS présente “TSILI” un film deAmos GITAI avec Sarah ADLER, Meshi OLINSKI, Adam TSEKHMAN, Andrey KASHKAR, Yelena YARLOVA scénario Amos GITAI, Marie José SANSELME assistant réalisateur Adi HALFIN image Giora BEJACH décors Andrey CHERNEKOV son Tulli CHEN montage image Yuval ORR, Isabelle INGOLD musique Alexei KOCHETKOV, Amit KOTCHANSKY montage son Alex CLAUD producteurs exécutifs Gadi LEVY, Pavel DOUVIDZON producteurs Laurent TRUCHOT, Michael TAPUACH, Yuri KRESTINSKY, Denis FREYD, Amos GITAI producteurs associés Carlo HINTERMANN, Gerardo PANICHI, Luca VENITUCCI, Anton CHERENKOV, Anna SHALASHINA, Sam TSEKHMAN, Leon EDERY, Moshe EDERY coproduction AGAV Films, ARCHIPEL35, TRIKITA Entertainment, HAMON Hafakot, CITRULLO International Avec le support de ISRAEL FILM FUND, RUSSIAN CINEMA FUND distribution EPICENTRE FILMS (écriture blanc pour fond foncé) (écriture noire pour fond clair) (noir et blanc) (couleurs) AGAV FILMS présente Tsili Un film deAmos Gitai Adapté du roman d’Aharon Appelfeld Avec Sarah Adler, Meshi Olinski, Adam Tsekhman, Lea Koenig, Andrey Kashkar, Yelena Yaralova, Alexey Kochetkov 2014 - Israël / France / Italie / Russie - 88 min - Num - Couleur - 1.85 - Son 5.1 - Visa 135 578 Sortie nationale le 12 aout 2015 Matériel presse disponible sur www.epicentrefilms.com Distribution Presse EPICENTRE FILMS Florence Narozny Daniel Chabannes 6, place de la Madeleine 75008 Paris 55 rue de la Mare 75020 Paris Tél : 01 40 13 98 09 Tél. 01 43 49 03 03 [email protected] [email protected] SYNOPSIS Inspiré du roman d’Aharon Appelfeld, le film retrace l’histoire de Tsili, une jeune fille prise dans les affres de la Seconde Guerre Mondiale. -
Eine Lange Nacht Über Den Israelischen Filmemacher Amos Gitai
„Ich folge den Ablagerungen der Geschichte in mir“ Eine Lange Nacht über den israelischen Filmemacher Amos Gitai Autoren: Heike Brunkhorst und Roman Herzog Regie: Claudia Mützelfeldt Redaktion: Dr. Monika Künzel SprecherInnen: Renate Fuhrmann Volker Risch Josef Tratnik Nicole Engeln Uli Auer Sendetermine: Deutschlandfunk Kultur Deutschlandfunk __________________________________________________________________________ Urheberrechtlicher Hinweis: Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Jede Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in den §§ 45 bis 63 Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © Deutschlandradio - unkorrigiertes Exemplar - insofern zutreffend. 1. Stunde Atmozuspiel (Filmanfang Berlin-Jerusalem) Klaviermusik, Explosionen, Schüsse, Sirenen, Radiostimmen auf Hebräisch, Helikopterrotor. Zuspiel (Amos Gitai) A: «I consider that I am a witness, you know. Since my position during the Kippur war, I find myself as a witness…» E: «…And I think, that it deserves a strong cinema, not complaisant, not caressing, but engaging with this history.» Sprecher Josef Tratnik Ich denke, seit dem Jom-Kippur-Krieg bin ich ein Zeuge, der aufgrund merkwürdiger Umstände überlebt hat, als mein Helikopter abgeschossen wurde. Ich bin extrem interessiert, fasziniert und verstört von diesem Land. Und ich denke, es braucht ein starkes Kino, kein schmeichelndes oder wohlgefälliges, sondern ein Kino, das sich mit der Geschichte -
The Monster-Child in Japanese Horror Film of the Lost Decade, Jessica
The Asian Conference on Film and Documentary 2013 Official Conference Proceedings Osaka, Japan “Our Fear Has Taken on a Life of its Own”: The Monster-Child in Japanese Horror Film of The Lost Decade, Jessica Balanzategui University of Melbourne, Australia 0168 The Asian Conference on Film and Documentary 2013 Official Conference Proceedings 2013 Abstract The monstrous child of Japanese horror film has become perhaps the most transnationally recognisable and influential horror trope of the past decade following the release of “Ring” (Hideo Nakata, 1999), Japan’s most commercially successful horror film. Through an analysis of “Ring”, “The Grudge” (Takashi Shimizu, 2002), “Dark Water” (Nakata, 2002), and “One Missed Call” (Takashi Miike, 2003), I argue that the monstrous children central to J-horror film of the millenial transition function as anomalies within the symbolic framework of Japan’s national identity. These films were released in the aftermath of the collapse of Japan’s bubble economy in the early 1990s — a period known in Japan as ‘The Lost Decade’— and also at the liminal juncture represented by the turn of the millennium. At this cultural moment when the unity of national meaning seems to waver, the monstrous child embodies the threat of symbolic collapse. In alignment with Noël Carroll’s definition of the monster, these children are categorically interstitial and formless: Sadako, Toshio, Mitsuko and Mimiko invoke the wholesale destruction of the boundaries which separate victim/villain, past/present and corporeal/spectral. Through their disturbance to ontological categories, these children function as monstrous incarnations of the Lacanian gaze. As opposed to allowing the viewer a sense of illusory mastery, the J- horror monster-child figures a disruption to the spectator’s sense of power over the films’ diegetic worlds. -
Yugoslav Cinema
Egemia, 2018; 3: 31-49 31 TRANSFORMATION OF TRAUMATIC CHARACTERS IN POST- YUGOSLAV CINEMA Ahmet Ender UYSAL* ABSTRACT This study examines the changes Yugoslav cinema realized from the 1980s to the 2000s, and seeks to see the contributions of three important post-Yugoslav directors to the transformation of the cinema characters. The post-Yugoslav states emerged after the disintegration of Yugoslavia, and they underwent political and cultural changes as a result of the collapse of the former Yugoslav socialism and the post-civil war. Post- Yugoslav cinema, which took its share from these changes, experienced crises of national identity and modernization. Examining these changes in cinema with cinematic characters is also very important in terms of visualizing cultural and economic changes in a cinematic sense. The real problem here is where the boundary of this change will be drawn. This is because, although the characters in post-Yugoslavian cinema have been transformed, there is still some cinematic tradition that continues today. Post-Yugoslav cinema will therefore be considered within the period of 1980s. Keywords: Post-Yugoslav cinema, trauma, cinematic characters * Arş. Gör., Yüzüncü Yıl Üniversitesi Güzel Sanatlar Fakültesi, Sinema-Televizyon Bölümü / VAN E-posta: [email protected] Makale Gönderim Tarihi: 14.06.2018 – Makale Kabul Tarihi: 16.10.2018 32 Egemia, 2018; 3: 31-49 INTRODUCTION Often, the concept of post-Yugoslavian cinema offers curative effects on rejection of failure and the search for hope, and becomes a common stake of new countries emerging after the dissolution of the former Yugoslavia, which is increasingly adopted in the field of film studies (Šprah, 2015: 184).