Consuming Audiences?: Production and Reception in Media Research
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Central Florida Future, Vol. 29 No. 21, November 5, 1996
University of Central Florida STARS Central Florida Future University Archives 11-5-1996 Central Florida Future, Vol. 29 No. 21, November 5, 1996 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 29 No. 21, November 5, 1996" (1996). Central Florida Future. 1402. https://stars.library.ucf.edu/centralfloridafuture/1402 Central Florid • VoL. 29 •No. 21 SERVING THE UNIVERSITY OF CENTRAL FLORIDA SINCE 1968 Nov. 5, 1996 Students encouraged to rock the vote and be heard INSIDE by RYAN ANDERSON commonplace in American poli and MELISSA VAZQUEZ tics, many voters have become dis News editor, staff writer illusioned with the whole demo • 9'{gws cratic voting process. Campus Chat Like two prize fighters go Despite what many experts ing into the last round bloodied have viewed as a lackluster elec Room and bruised, the Clinton/Gore and tion season, the potential is great pg. 3 Dole/Kemp tickets are awaiting for a large voter turnout at the polls today. Who should win the the final bell in this election sea • son. · "Never before in Florida's presidential election? Both sides enter the day still history have so many citizens been swinging and slinging for votes, registered to vote on election day. -
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 -
Roberto Rossellini
Roberto Rossellini Reihe Film 36 Mit Beiträgen von Rainer Gansera Wolfgang Jacobsen Peter W. Jansen Carlo Lizzani Rudolf Thome Carl Hanser Verlag Inhalt Im zerbombten Berlin Mit Rossellini während Germania anno zero von Carlo Lizzani 7 »Die Dinge haben Sinn, weil jemand sie anblickt« Stichworte zu Rossellini von Rainer Gansera 13 Interview 1 von Maurice Scherer (Eric Rohmer) und Francois Truffaut 59 Interview 2 von Jean Domarchi, Jean Douchet, Fereydöun Hoveyda 75 Interview 3 von E. Bruno, A. Cappabianca, E. Magelli, M. Mancini 93 Kommentierte Filmografie von Rudolf Thome 103 La nave bianca 103 Un pilota ritorna 106 L'uomo della croce 107 Desiderio 112 Roma, cittä aperta. Rom, offene Stadt 115 Paisä. Paisä 125 Germania, anno zero. Deutschland im Jahre Null 135 L'amore. Amore 140 La macchina ammazzacattivi. Die Maschine, die die Bösen tötet 143 Stromboli, terra di dio. Stromboli 147 Francesco, giullare dio. Franziskus, der Gaukler Gottes 152 L'invidia. Neid 158 Europa 51. Europa 51 160 Dov'e la libertä? 164 Ingrid Bergman 167 Viaggio in Italia. Liebe ist stärker 169 Napoli 43 177 Giovanna d'arco al rogo 178 Angst 180 L'India vista da Rossellini 187 India, matri bhumi 189 11 Generale della Rovere. Der falsche General 193 Era notte a Roma. Es war Nacht in Rom 200 Viva l'Italia. Viva l'Italia 207 Vanina Vanini. Der furchtlose Rebell 212 Anima nera. Schwarze Seele 217 Illibatezza 222 L'etä del ferro 225 La prise de pouvoir par Louis XIV. Die Machtergreifung Ludwigs XIV. 227 Idea di un'isola 233 La lotta dell'uomo per la sua soprawivenza 233 Atti degli Apostoli 238 Socrate 240 Blaise Pascal. -
A Queer Analysis of the James Bond Canon
MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester 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 May 2019 Copyright 2019 by Grant C. Hester ii MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Jane Caputi, Center for Women, Gender, and Sexuality Studies, Communication, and Multimedia and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Khaled Sobhan, Ph.D. Interim Dean, Graduate College iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Jane Caputi for guiding me through this process. She was truly there from this paper’s incubation as it was in her Sex, Violence, and Hollywood class where the idea that James Bond could be repressing his homosexuality first revealed itself to me. She encouraged the exploration and was an unbelievable sounding board every step to fruition. Stephen Charbonneau has also been an invaluable resource. Frankly, he changed the way I look at film. His door has always been open and he has given honest feedback and good advice. Oliver Buckton possesses a knowledge of James Bond that is unparalleled. I marvel at how he retains such information. -
Comunicato Cinema Ritrovato 2
Il Cinema Ritrovato 33rd edition Bologna, June 22 – 30, 2019 FRANCIS FORD COPPOLA PRESENTS THE EUROPEAN PREMIERE OF APOCALYPSE NOW – FINAL CUT IN PIAZZA MAGGIORE TWO ADDITIONAL SCREENINGS OF APOCALYPSE NOW AT CINEMA JOLLY AND MEDICA CINEMA AS SEEN BY WOMEN: LA PASSIONE DI ANNA MAGNANI Tomorrow, Friday, June 28, at Il Cinema Ritrovato It’s time to celebrate Francis Ford Coppola and his masterpiece Apocalypse Now at Il Cinema Ritrovato: tomorrow, Friday, June 28, at 9.45 PM (promoted by Gruppo Hera), the director will be on the stage of Piazza Maggiore to present the European premiere of Apocalypse Now - Final Cut, the last version of his Oscar-winning movie on the Vietnam war. Running parallel to the main event in Piazza Maggiore, still at 9.45 PM, the Cineteca di Bologna organized two unscheduled screenings of Apocalypse Now at Cinema Jolly (for pass owners only) and Medica (free admission and open to everyone). At the end of the screenings, the two theaters will be showing a video of the presentation that Coppola held in Piazza Maggiore. Tomorrow, Friday, June 28, Il Cinema Ritrovato will be also about women. A wonderful portray of Anna Magnani arrives at the Cineteca di Bologna’s festival after its premiere in Cannes: La passione di Anna Magnani, by Enrico Cerasuolo, will be screening at 5.30 PM, at Auditorium DAMSLab – Piazzetta Pasolini. “An intimate portray of a great Italian actress, icon of the neorealism and film history worldwide”, explains the director of the Cineteca di Bologna, Gian Luca Farinelli, who curated the section about documentaries as part of Il Cinema Ritrovato. -
Roberto Rossellinips Rome Open City
P1: JPJ/FFX P2: FCH/FFX QC: FCH/FFX T1: FCH CB673-FM CB673-Gottlieb-v1 February 10, 2004 18:6 Roberto Rossellini’s Rome Open City Edited by SIDNEY GOTTLIEB Sacred Heart University, Fairfield, Connecticut v P1: JPJ/FFX P2: FCH/FFX QC: FCH/FFX T1: FCH CB673-FM CB673-Gottlieb-v1 February 10, 2004 18:6 PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United States of America Typefaces Stone Serif 9.5/13.5 pt. and Gill Sans System LATEX2ε [TB] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Roberto Rossellini’s Rome, open city / edited by Sidney Gottlieb. p. cm. – (Cambridge film handbooks) Filmography: Includes bibliographical references. ISBN 0-521-83664-6 (hard) – ISBN 0-521-54519-6 (pbk.) 1. Roma, citta´ aperta (Motion picture) I. Gottlieb, Sidney. II. Cambridge film handbooks series. PN1997.R657R63 -
Michael Cramer Las Lecciones De Historia De Rossellini 125
NEW LEFT REVIEW 78 SEGUNDA ÉPOCA enero febrero 2013 ARTÍCULOS Göran Therborn Las clases en el siglo xxi 11 Jacob Collins ¿Un giro antropológico? 39 Patrick Wilcken La hora del juicio en Brasil 71 Mario Sergio Conti El ascenso de los creadores de imágenes 91 Andrew Smith Trabajar cara al público 109 Michael Cramer Las lecciones de historia de Rossellini 125 CRÍTICA Jennifer Pitts ¿Una geocultura liberal? 147 Barry Schwabsky Artistas bajo la bandera 157 Jan Breman Historias de Annawadi 164 La nueva edición de la New Left Review en español se lanza desde el Instituto de Altos Estudios Nacionales de Ecuador–IAEN, WWW.NEWLEFTREVIEW.ES © New Left Review Ltd., 2000 © Instituto de Altos Estudios Nacionales (IAEN), 2014, para lengua española Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional (CC BY-NC-ND 4.0) SUSCRÍBETE Michael Cramer LAS LECCIONES DE HISTORIA DE ROSSELLINI oberto Rossellini (1906-1977) pasó los catorce últi- mos años de su carrera haciendo lo que denominaba «películas pedagógicas», principalmente para televisión. En su opinión, aquellas obras constituían una importante Rruptura con el cine existente: encarnaban una nueva forma, ni arte ni entretenimiento, y el propio director quería ser considerado a partir de entonces como un educador, no como un artista1. Dirigió pues series en varios capítulos sobre el desarrollo histórico humano –L’età del ferro (1964), de cinco horas, y La lotta dell’uomo per la sua sopravvivenza (1967- 1969), de doce horas–, así como retratos de personajes innovadores en el campo de la política –L’età di Cosimo de Medici (1972-1973), La prise de pouvoir par Louis XIV (1966)– y en el de las ideas: Socrate (1971), Agostino d’Ippona (1972), Blaise Pascal (1972), Cartesius (1974). -
Spring 2019 Film Calendar
National Gallery of Art Film Spring 19 I Am Cuba p27 Special Events 11 A Cuba Compendium 25 Janie Geiser 29 Walt Whitman Bicentennial 31 The Arboretum Cycle of Nathaniel Dorsky 33 Roberto Rossellini: The War Trilogy 37 Reinventing Realism: New Cinema from Romania 41 Spring 2019 offers digital restorations of classic titles, special events including a live performance by Alloy Orchestra, and several series of archival and contem- porary films from around the world. In conjunction with the exhibition The Life of Animals in Japanese Art, the Gallery presents Japanese documentaries on animals, including several screenings of the city symphony Tokyo Waka. Film series include A Cuba Compendium, surveying how Cuba has been and continues to be portrayed and examined through film, including an in-person discussion with Cuban directors Rodrigo and Sebastián Barriuso; a celebra- tion of Walt Whitman on the occasion of his bicen- tennial; recent restorations of Roberto Rossellini’s classic War Trilogy; and New Cinema from Romania, a series showcasing seven feature length films made since 2017. Other events include an artist’s talk by Los Angeles-based artist Janie Geiser, followed by a program of her recent short films; a presentation of Nathaniel Dorsky’s 16mm silent The Arboretum Cycle; the Washington premieres of Gray House and The Image Book; a program of films on and about motherhood to celebrate Mother’s Day; the recently re-released Mystery of Picasso; and more. 2Tokyo Waka p17 3 April 6 Sat 2:00 La Religieuse p11 7 Sun 4:00 Rosenwald p12 13 Sat 12:30 A Cuba Compendium: Tania Libre p25 2:30 A Cuba Compendium: Coco Fusco: Recent Videos p26 14 Sun 4:00 Gray House p12 20 Sat 2:00 A Cuba Compendium: Cuba: Battle of the 10,000,000 p26 4:00 A Cuba Compendium: I Am Cuba p27 21 Sun 2:00 The Mystery of Picasso p13 4:30 The Mystery of Picasso p13 27 Sat 2:30 A Cuba Compendium: The Translator p27 Films are shown in the East Building Auditorium, in original formats whenever possible. -
PAJ77/No.03 Chin-C
AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors. -
Italská Kinematografie
1 Italská kinematografie Třetí lekce 4. 11. 2020 V minulé lekci jsem naznačil rozlišení tří center neorealismu podle názorové orientace na směr, řekněme, křesťanský, dále „sociální“, a komunistický. Podívejme se nyní na jejich hlavní tvůrce: ROBERTO ROSSELLINI (1906–1977) reprezentuje křesťanskou větev neorealismu: „Můj osobní neorealismus není nic jiného než morální stanovisko: láska k bližnímu.“ (Ljubomír Oliva, Filmová Itálie, Praha, ČSFÚ 1984, s. 16). Jeho otec postavil v Římě kino Barberini. Mladý Roberto Rossellini chodil často do kina, pracoval jako novinář, u filmu začal pracovat jako zvukař a osvojoval si různé pomocné filmařské profese. V letech 1936–38 natáčel krátké snímky spíše amatérského rázu. Jeho první celovečerní filmy sloužily fašistické propagandě a řídily se příkazem autenticity: zachytit válečný život, jaký je. Tak jak tyto zásady rozvíjel námořník, scenárista, režisér a šéf Filmového střediska ministerstva námořnictva (Centro Cinematografo della Marina) FRANCESCO DE ROBERTIS, jenž natočil mj. drama Uomini sul fondo (Muži na dně, 1941) o posádce ponorky. Důležité byly v jeho filmu dokumentární prvky, zachycující skutečný život námořníků, v čemž někteří (včetně Rosselliniho) později spatřovali předzvěst neorealismu. Vittorio Mussolini vzpomínal na mladého Roberta Rosselliniho jako na oblíbeného bonvivána, jenž miloval ženy a pozemské požitky. Roberto Rossellini zaměstnával u svých filmů členy vlastní rodiny, například jeho mladší bratr RENZO ROSSELLINI (1908–1982) skládal k jeho filmům hudbu. Roberto Rossellini se -
FS 300 from CINECITTÀ STUDIOS to REAL LOCATIONS: a JOURNEY THROUGH ITALIAN CINEMA MADE in ROME IES Abroad Rome – Language & Area Studies
FS 300 FROM CINECITTÀ STUDIOS TO REAL LOCATIONS: A JOURNEY THROUGH ITALIAN CINEMA MADE IN ROME IES Abroad Rome – Language & Area Studies DESCRIPTION: The course offers the unique opportunity to study Italian Cinema from the birth of Cinecittà Studios in 1937 to the present, visiting the settings, studios and real locations where some landmark films were shot. The selected movies share the characteristic of having being all filmed in Rome, which can be considered the capital of the Italian film industry. Therefore, Rome will be explored through the eyes of some of the most influential film directors and revealed as a source of inspiration for directors such as De Sica, Rossellini, Fellini, Scola, Monicelli, Pasolini, Leone, Moretti, Virzì and Sorrentino. The selected films will be discussed in class through an extensive historical analysis and a critical approach in order to understand the contribution of Italian cinema to the development of world cinema and the role of cinema in shaping of Italian society and culture. Students will visit the locations used to shoot the movies analyzed in class in order to understand how they were filmed and to learn the specific elements of film language and film techniques utilized by the different directors. CREDITS: 3 CONTACT HOURS: 45 LANGUAGE OF INSTRUCTION: English PREREQUISITES: None METHOD OF PRESENTATION: Lectures, screenings, individual or group film watching at IES multimedia lab after class, course- related trips, use of multimedia and Internet resources for research purposes, film analysis and class debates on main Italian film directors and their work. REQUIRED WORK AND FORM OF ASSESSMENT: • Class participation - 10% • Film review – 20% • Oral presentation of film review – 10% • Midterm exam – 30% • Final exam – 35% Film Review on movie chosen by the student Students will analyze a chosen film from a technical and critical point of view and will contextualize the movie in its director’s life and artistic career. -
Neorealism and Magic Realism in Cinema
Neorealism and Magic Realism in Cinema Italian Neorealism is one of the most influential, visually distinctive and thematically challenging wave in the history of cinema. The worldwide turmoil that shaped the neorealistsʼ visions then, can be traced in every aspect of the films produced during the very short time neorealism went on. The revolutionary changes and possibilities this wave emerged led other genres and waves to be born, like French New Wave. This course aims to focus on the Italian Neorealism, the thematic and stylistic aspects of the wave by analysing the films of the most significant directors of the time. Once the roots of the Neorealism is fully established and the means and ways are absorbed, the course will shift to discover the magic realism that replaced realism in the European cinema of 1950s. The course will get to the root of the magical realism and similar tendencies in the cinema and the literature that procreated the magic realism definition in the first place. The course will also feed from Surrealism and Psychological Realism. During the semester, substantial works of literature and painting will be visited in order to get a broader understanding of different approaches of realism. Course Requirements: The course will be carried out with a series of discussions every week and to participate to the discussions in class, every student must watch the film (or films) of the week. Being a participator in the class is the most important requirement of the course. :::Attention::: • The course starts on the first week, and although the first two weeks are ʻadd-dropʼ weeks, if you miss a class even in the beginning of the course, please drop the course, or donʼt take it in the first place.