Zhang Gong Born 1959 in Beijing
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Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Co-Optation of the American Dream: a History of the Failed Independent Experiment
Cinesthesia Volume 10 Issue 1 Dynamics of Power: Corruption, Co- Article 3 optation, and the Collective December 2019 Co-optation of the American Dream: A History of the Failed Independent Experiment Kyle Macciomei Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Macciomei, Kyle (2019) "Co-optation of the American Dream: A History of the Failed Independent Experiment," Cinesthesia: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholarworks.gvsu.edu/cine/vol10/iss1/3 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Macciomei: Co-optation of the American Dream Independent cinema has been an aspect of the American film industry since the inception of the art form itself. The aspects and perceptions of independent film have altered drastically over the years, but in general it can be used to describe American films produced and distributed outside of the Hollywood major studio system. But as American film history has revealed time and time again, independent studios always struggle to maintain their freedom from the Hollywood industrial complex. American independent cinema has been heavily integrated with major Hollywood studios who have attempted to tap into the niche markets present in filmgoers searching for theatrical experiences outside of the mainstream. From this, we can say that the American independent film industry has a long history of co-optation, acquisition, and the stifling of competition from the major film studios present in Hollywood, all of whom pose a threat to the autonomy that is sought after in these markets by filmmakers and film audiences. -
Independent Experimental Film (Animation and Live-Action) Remains the Great Hardly-Addressed Problem of Film Preservation
RESTORING EXPERIMENTAL FILMS by William Moritz (From Anthology Film Archives' "Film Preservation Honors" program, 1997) Independent experimental film (animation and live-action) remains the great hardly-addressed problem of film preservation. While million-dollar budgets digitally remaster commercial features, and telethon campaigns raise additional funds from public donations to restore "classic" features, and most of the film museums and archives spend their meager budgets on salvaging nitrates of early live-action and cartoon films, thousands of experimental films languish in desperate condition. To be honest, experimental film is little known to the general public, so a telethon might not engender the nostalgia gifts that pour in to the American Movie Classics channel. But at their best, experimental films constitute Art of the highest order, and, like the paintings and sculptures and prints and frescos of previous centuries, merit preservation, since they will be treasured continuingly and increasingly by scholars, connoisseurs, and thankful popular audiences of future generations - for the Botticellis and Rembrandts and Vermeers and Turners and Monets and Van Goghs of our era will be found among the experimental filmmakers. Experimental films pose many special problems that account for some of this neglect. Independent production often means that the "owner" of legal rights to the film may be in question, so the time and money spent on a restoration may be lost when a putative owner surfaces to claim the restored product. Because the style of an experimental film may be eccentric in the extreme, it can be hard to determine its original state: is this print complete? Have colors changed? was there a sound accompaniment? what was the speed or configuration of projection? etc. -
Race & Ethnicity in Independent Films
Race & Ethnicity in Independent Films: Prevalence of Underrepresented Directors and the Barriers They Face Katherine M. Pieper, Ph.D., Marc Choueiti, & Stacy L. Smith, Ph.D. Annenberg School for Communication & Journalism University of Southern California (working paper) This project was supported in part or in whole by an award from the Research: Art Works program at the National Endowment for the Arts: Grant# 13-3800-7017. The opinions expressed in this paper are those of the author(s) and do not necessarily represent the views of the Office of Research & Analysis or the National Endowment for the Arts. The NEA does not guarantee the accuracy or completeness of the information included in this report and is not responsible for any consequence of its use. 1 Race & Ethnicity in Independent Films: Prevalence of Underrepresented Directors and the Barriers They Face Katherine M. Pieper, Ph.D., Marc Choueiti, & Stacy L. Smith, Ph.D. Annenberg School for Communication & Journalism University of Southern California 3502 Watt Way, Suite 222-223 Los Angeles, CA 90089 @MDSCInitiative Executive Summary The purpose of this study was to assess the prevalence and experiences of directors from underrepresented racial/ethnic groups in film. To this end, the research involved three prongs. First, we examined race/ethnicity of all directors associated with U.S. dramatic and documentary films selected and screened at Sundance Film Festival (SFF) between 2002 and 2013. Using a modified version of U.S. Census categories, a total of 1,068 directors across more than 900 films were categorized into one or more racial/ethnic groups. Second, we assessed how diversity behind the camera was related to on screen diversity. -
Concordia University Presents
ConcordiaConcordia UniversityUniversity presentspresents THE 30th ANNUAL SOCIETY FOR ANIMATION STUDIES CONFERENCE | MONTREAL 2018 We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/ Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. Please clickwww.concordia.ca/about/indigenous.html here to visit Indigenous Directions Concordia. TABLE OF CONTENTS Welcomes 4 Schedule 8-9 Parallel Sessions 10-16 Keynote Speakers 18-20 Screenings 22-31 Exhibitions 33-36 Speakers A-B 39-53 Speakers C-D 54-69 Speakers E-G 70-79 Speakers H-J 80-90 Speakers K-M 91-102 Speakers N-P 103-109 Speakers R-S 110-120 Speakers T-Y 121-132 2018 Team & Sponsors 136-137 Conference Map 138 3 Welcome to Concordia! On behalf of Concordia’s Faculty of Fine Arts, welcome to the 2018 Society for Animation Studies Conference. It’s an honour to host the SAS on its thirtieth anniversary. Concordia University opened a Department of Cinema in 1976 and today, the Mel Hoppenheim School of Cinema is the oldest film school in Canada and the largest university-based centre for the study of film animation, film production and film studies in the country. -
The Business of Making Movies
Cover Story THE BUSINESS OF MAKING MOVIES B Y S. MARK Y OUNG,JAMES J. GONG, AND W IM A. V AN DER S TEDE The U.S. motion picture industry generates close to $100 billion in revenues, is one of the country’s largest exporters, and exerts enormous cultural influence worldwide. But today it also faces enormous pressures. 26 STRATEGIC FINANCE I F ebruary 2008 oing to the movies has always been one of ney Pictures, Warner Brothers Pictures, Paramount Pic- society’s most pleasurable pastimes. Over tures, Columbia Pictures, and Universal Pictures. The the past few years, though, enormous MPAA represents these studios internationally and plays a changes have occurred in the movie- number of roles: It advocates for the U.S. film industry, making business: escalating production protects producers from copyright theft, and fights pira- and marketing costs, the significant impact cy. In 2006, the MPAA studios released 203 films (34%), of increased piracy, the uncertainty in film and other, independent distributors released 396 (66%). financing, the proliferation of digital tech- Even though major studios have made their name in Gnology, and the increase in available entertainment Hollywood, large, vertically integrated conglomerates options for consumers. These and other factors have own them today. These conglomerates also incorporate a implications for the motion picture business, the types of number of other forms of entertainment and media, such movies it will produce, and how and where people will as radio stations, cable and network television stations, view them. Based on research sponsored by the Foundation for Applied Research (FAR) of the Institute of Management THE LARGEST DISTRIBUTORS OF Accountants (IMA®), this is the first in a series of articles on the U.S. -
American Independent Cinema 1St Edition Pdf, Epub, Ebook
AMERICAN INDEPENDENT CINEMA 1ST EDITION PDF, EPUB, EBOOK Geoff King | 9780253218261 | | | | | American Independent Cinema 1st edition PDF Book About this product. Hollywood was producing these three different classes of feature films by means of three different types of producers. The Suburbs. Skip to main content. Further information: Sundance Institute. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on a studio's ability to package and release their work. Yannis Tzioumakis. Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi Rick marked it as to-read Jan 05, This change would further widen the divide between commercial and non-commercial films. Thanks for telling us about the problem. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. -
African-American and Romani Filmic Representation and the ‘Posts’ of Post-Civil Rights and Post-EU Expansion
African-American and Romani Filmic Representation and the ‘Posts’ of Post-Civil Rights and Post-EU Expansion Sunnie Rucker-Chang [email protected] Assistant Professor of Slavic and East European Studies in the German Studies Department and Director of the European Studies Program University of Cincinnati, Ohio ORCID: https://orcid.org/0000-0002-6728-9780 Sunnie Rucker-Chang is an Assistant Professor of Slavic and East European Studies in the German Studies Department and Director of the European Studies Program at the University of Cincinnati. Her primary interests lie in contemporary cultural movements and identity formation in Central and Southeast Europe. In her work, she examines how literary and filmic works contribute to cultural landscapes and offer insight into the formation of nations and nationalities, particularly as they relate to minority-majority relations and constructs of difference. Vol. 1, No. 1, 2018, 132–148 • DOI: 10.29098/crs.v1i1.8 Abstract Keywords In this article I explore linkages between the evolution of African- • African-American American filmic representation and the patterns of Romani • Film representation in films from Central and Southeast Europe • Roma (CSEE). More specifically, I use the 1970s Blaxploitation movement • Race and subsequent shift of African-American representation into • Representation films reliant on a realist aesthetic to contextualize analysis of the shortcomings of the Civil Rights Movement to provide broad integration for African-Americans. Given other similarities between the racialized positionalities of African-Americans and Roma, I argue that Blaxploitation can illuminate trends in the cinematic depictions of CSEE Roma, since the Roma Rights movement has had to contend with similar shortcomings in achieving political, social, and economic inclusion. -
“Oscar ® ” and “Academyawards
“OSCAR®” AND “ACADEMY AWARDS®” ARE REGISTERED TRADEMARKS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES, AND USED WITH PERMISSION. THIS IS NOT AN ACADEMY RELEASE. A SISTER BELGIUM /16MINS/2018 Native Title: UNE SOEUR Director: DElphiNE GiRaRD Producers: JacqUES-hENRi BRONckaRt (VERSUS pRODUctiON) Synopsis: a night. a car. alie is in trouble. to get by she must make the most important call of her life. Director’s Biography: Born in the heart of the French-canadian winter, Delphine Girard moved to Belgium a few years later. after starting her studies as an actress, she transferred to the directing department at the iNSaS in Brussels. her graduation film, MONSTRE , won several awards in Belgium and around the world. after leaving the school, she worked on several films as an assistant director, children's coach or casting director ("Our children" by Joachim lafosse, "Mothers’ instinct" by Olivier Masset-Depasse) while writing and directing the short film CAVERNE , adapted from a short story by the american author holly Goddard Jones. A SISTER is her second short film. She is currently working on her first feature and a fiction series. Awards: Jury Prize - Saguenay IFF (Canada) Grand Prize Rhode Island IFF (USA) Best International Short Film Sulmona IFF (Italy) Grand Prize Jury SPASM Festival (Canada) Best Short Film, Public Prize, Be tv Prize, University of Namur Prize - Namur Film Festival (Belgium) Public Prize & Special mention by press - BSFF (Belgium) Best Belgian Short Film RamDam FF (Belgium) Prize Creteil Film Festival Festivals/Screenings: -
The Political Economy of Independent Film: a Case Study of Kevin Smith Films
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Political Economy of Independent Films: A Case Study of Kevin Smith Films Grace Kathleen Keenan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION THE POLITICAL ECONOMY OF INDEPENDENT FILMS: A CASE STUDY OF KEVIN SMITH FILMS By GRACE KATHLEEN KEENAN A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Arts in Media Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Grace Kathleen Keenan defended on April 9, 2009. ____________________________________ Jennifer M. Proffitt Professor Directing Thesis ____________________________________ Stephen D. McDowell Committee Member ____________________________________ Andrew Opel Committee Member __________________________________________________ Stephen D. McDowell, Chair, Department of Communication __________________________________________________ Gary R. Heald, Interim Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For my parents, who have always seen me as their shining star iii ACKNOWLEGEMENTS Dr. Proffitt: Without your dedication to learning and students, this thesis would have been impossible. You truly have the patience of an angel. Much love. Dad: How do you put up with me? Thank you for all your emotional and financial support. Mom: You are always striving to understand. I think I get that from you. Newton Hazelbaker: Again, how do you put up with me? Thank you for your absolute and unconditional love. Laura Clements: Perhaps the most fun person I’ve ever met. -
American Independent Cinema
American Independent Cinema Geoff King Contents List of Illustrations vii Acknowledgements ix Introduction: How Independent? 1 1. Industry 11 2. Narrative 59 3. Form 105 4. Genre 165 5. Alternative Visions: Social, Political and Ideological Dimensions of Independent Cinema 197 Coda: Merging with the Mainstream, or Staying Indie? 261 Notes 265 Select Bibliography 277 Index 283 Illustrations 1. Stranger Than Paradise 3 2. The Blair Witch Project 15 3. sex, lies, and videotape 35 4. Gummo 64 5. Mystery Train 94 6. Laws of Gravity 116 7. Safe 126 8. Elephant 148 9. Kill Bill Vol. 1 159 10. Martin 169 11. Reservoir Dogs 184 12. She’s Gotta Have It 212 13. Straight Out of Brooklyn 218 14. Swoon 228 15. The Doom Generation 236 Introduction How Independent? From the lowest-budget, most formally audacious or politically radical to the quirky, the offbeat, the cultish and the more conventional, the independent sector has thrived in American cinema in the past two decades, producing a body of work that stands out from the dominant Hollywood mainstream and that includes many of the most distinctive films to have appeared in the USA in recent years. It represents a challenge to Hollywood, although also one that has been embraced by the commercial mainstream to a substantial extent. Major formerly independent distributors such as Miramax and New Line are attached to Hollywood studios (Disney and Time-Warner, respectively), while some prominent directors from the independent sector have been signed up for Hollywood duty. The ‘independence’ of American independent cinema, or exactly what kind of production qualifies for the term, is constantly under question, on a variety of grounds. -
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance.