CONFERENCE PROGRAMME 9-11 July 2019 #FP2019

Total Page:16

File Type:pdf, Size:1020Kb

CONFERENCE PROGRAMME 9-11 July 2019 #FP2019 PHILOSOPHY CONFERENCE - PROGRAMME 9-11 July 2019 FILM #FP2019 Conference Director Dr Dario Llinares Conference Committee Dr Lucy Bolton Dr William Brown Dr Holly Chard Dr Ewan Kirkland Dr Matilda Mroz Dr Patricia Prieto Blanco Dr David Sorfa Conference Assistants Laura Williams Alison Monge And all of the Southcoast Conferences team Venue: Grand Parade Campus & Edward St Campus, University of Brighton Keynote Lectures: Sallis Benney Lecture Theatre, Grand Parade Campus Panel Presentations: Edward Street Campus ES102, ES103, ES105, ES309, ES305 Catering and Coffee: Grand Parade Café and Edward St Floor 1 Scan QR codes with your phone for Online Maps: Online Details: CONTENTS 01 WELCOME 2 02 CAMPUS MAPS 3 03 ADDITIONAL INFORMATION 4 04 PROGRAMME AT A GLANCE 6 05 TIMETABLE – TUESDAY 9 JULY 8 TIMETABLE – WEDNESDAY 10 JULY 10 TIMETABLE – THURSDAY 11 JULY 12 06 KEYNOTE SPEAKERS 14 07 ABSTRACTS 17 1 It is an honour to welcome you to the 12th annual Film-Philosophy Conference at the University of Brighton. Ever since I was asked to take on the directorship of the conference I have been working with a kind of trepidatious excitement in bringing so many fantastic colleagues the south coast to share their research. Myself, the conference committee and the organisation team have been working really hard to create a fantastic experience over the three days. This would not have been possible however without the amazing breadth and quality of submissions we have had. I’m very much looking forward to listening to as many papers as possible. I would like to thank the conference committee for their support, particularly during through the initial selection process. With of 260 initial abstracts, programming was an extremely difficult task, both in terms of quantity and the high level of submissions we received. I specifically want to thank David Sorfa whose collaboration and counsel has been an anchoring point for me through the organisation process. Obviously the conference is focus of your time here, however I hope you have a chance to get out and explore Brighton. There is wealth of attractions to go visit: the Brighton Palace Pier for some old school British Seaside entertainment, the narrow streets of The Lanes offer plethora of cool shops, cafes and artwork, the Royal Pavilion designed by John Nash is based on Indo-Saracenic Revival architecture, and Fabrica Art Gallery currently features an exhibition by sculptor Susie MacMurray. Of course, for those of you who have booked we will be going to the fabulous i360 for the conference dinner. Anyone who suffers from vertigo may have to forego the initial ‘flight’ however. Myself, Neil Fox (Falmouth University) and Kat Zebecka (University of Edinburgh) are going to be taping some audio for a special edition of The Cinematologists Podcast . This episode will be released in September and if you would like to be involved by giving us a short interview about your research, please let one of us know. I hope you all have an amazing conference. Please don’t hesitate to ask me or any of the conference team for any further help or advice you might need. Dario Llinares Conference Director 01 WELCOME WELCOME 01 2 GRAND PARADE The conference will be held at the University of Brighton City Campus using spaces in both Grand Parade and Edward Street buildings. The buildings are a short 10 minute walk away from each other and directional signage will map out the route. EDWARD STREET FIRST FLOOR WALKING DIRECTIONS TO EDWARD STREET Leaving Grand Parade through the quad exit: Walk through the gate and turn left to the top of EDWARD STREET THIRD FLOOR Grand Parade Mews. Turn right onto William Street. At the end of William Street, turn left onto Edward Street. Leaving from the main entrance of Grand Parade: turn left and follow Grand Parade towards the seafront. The Pavilion will be on your right hand side, at the lights, turn left up Edward Street. 02 CAMPUS MAPS MAPS CAMPUS 02 3 Registration: On the first morning registration will take place outside the Sallis Benney lecture theatre (Grand Parade Campus). For the rest of the conference the registration desk will be in Edward Street campus where the Panel Sessions are taking place. Tuesday Night Drinks reception: Tuesday evenings drinks reception will take place in Grand Parade Café. The evening will feature a book launch: Visionaries: Thinking Through Female Filmmakers hosted by Edinburgh University Press. During the reception we will also announce the winner of the 2019 Film-Philosophy Annual articule award. The nominees, in alphabetical order, are: Max Bowens, ‘“The Flesh of The Perceptible”: The New Materialism of Leviathan’ Catherine Constable, ‘Surfaces of Science Fiction: Enacting Gender and “Humanness” in Ex Machina’ Jenny Gunn, ‘Deleuze, Žižek, Spring Breakers and the Question of Ethics in Late Capitalism’ John Charles Hill, ‘The Creaturely Life of Carol Reed's Cities: Eric Santner and Walter Benjamin’ Gordon Sullivan, ‘“We Do Not Look At Them As They Really Are”: Technics and Photogénie in Jean Epstein's Film-Philosophy’ Wednesday Conference Dinner: The conference dinner will take place at the amazing British Airways i360 restaurant which is along the seafront about 20mins walk from Grand Parade Campus. The dinner starts at 7:30pm but I will be setting off from Grand Parade at 7:00pm so anyone who wants to can meet me there and we can walk together. Audio recordings: During the conference we intend to record interviews will delegates for a special edition of The Cinematologists Podcast, the will come out after the conference. Myself and Dr Neil Fox will be conducting short interviews with delegates who are interested is discussing your work for the episode please let either myself or Neil know. 03 ADDITIONAL INFORMATION ADDITIONAL 03 4 Twitter: We would really like to see some interaction on social media regarding the conference. We will have some screens around the venues with the conference Twitter feed on display. The conference Hashtag is #FP2019 so please add this to any messages you post. Panel Sessions: All the panel sessions will take place in the Edward Street Campus. All the rooms in Edward Street are equipped with Audio/Visual projectors run on a P/C system. There is also the facility to connect laptops (MAC and PC) via VGA and HDMI (It’s a good idea to bring your own MAC adaptor). Please go to the panel you are speaking at 15mins early to check that your presentation works whether you are bringing a flash drive or presenting from your own Laptop (especially if you are running clips) – There will be tech assistants on hand to help with any issues. Chairs, please also arrive early for your sessions to introduce yourself to the speakers. Please keep your presentation under 20mins so there is time for questions (chairs, please endeavour to keep people to time). If any of you have a last-minute problem and you need to cancel, please let me know as soon as you are able. 03 ADDITIONAL INFORMATION ADDITIONAL 03 5 TUESDAY 9 JULY 11:00 – 12:30 Keynote 2 – Andrew Klevan: 09:30 – 10:15 Registration Ordinary Language Film Grand Parade Building Studies 10:15 -10:30 Welcome Introduction Sallis Benney Theatre, Grand Helen Kennedy, Dario Llinares Parade Building (University of Brighton) and 12:30 – 13:45 Lunch David Sorfa (University of Grand Parade Café Edinburgh) 13:45 – 15:15 Panel Session E Sallis Benney Theatre, Grand Edward Street Rooms Parade Building 15:15 – 15:45 Coffee Break 10:30 – 11:45 Keynote 1 - Janet Harbord: Edward Street First Floor Film as a Training for 15:45 – 17:15 Panel Session F Neurotypical life Edward Street First Floor Sallis Benney Theatre, Grand 17:15 – 17:30 Coffee to go Parade Building Collect from Edward Street to 11:45 – 13:00 Lunch take to Grand Parade Grand Parade Café 17:30 – 18:45 Keynote 3 - Victor Fan: Time 13:00 – 14:30 Panel Session A (see page 8-9 and Nothingness: Image and for panel information) Temporality through the Lens Edward Street Rooms of Buddhism 14:30 – 15:00 Coffee Break Sallis Benney Theatre, Grand Edward Street First Floor Parade Building 15:00 – 16:30 Panel Session B 19:30 – 23:00 Conference Gala Dinner Edward Street Rooms British Airways i360, Brighton 16:30 – 17:00 Coffee Break Seafront Edward Street First Floor 17:00 – 18:30 Panel Session C THURSDAY 11 JULY Edward Street Rooms 09:00 – 09:30 Arrival coffee 19:00 – 20:30 Drinks Reception and Book Edward Street First Floor Launch 09:30 – 11:00 Panel Session G (see page 12 Film-Philosophy Annual -13 for panel information) Article Award Edward Street Rooms Book Launch: Visionaries: 11:00 – 11:30 Coffee Break Thinking Through Female Edward Street First Floor Filmmakers (Edinburgh 11:30 – 13:00 Panel Session H University Press) Edward Street Rooms Grand Parade Café 13:00 – 14:00 Lunch Grand Parade Café WEDNESDAY 10 JULY 14:00 – 15:15 Keynote 4 - Jane Stadler 08:00 – 09:00 Arrival coffees Deepfakes, Bad Actors, and Edward Street First Floor Synthespians: Ethics and 09:00 – 10:30 Panel Session D (see page Embodiment Technologies 10-11 for panel information) Sallis Benney Theatre, Grand Edward Street Rooms Parade Building 10:30 – 11:00 Coffee break 15:15 – 16:00 Closing Remarks – Dario Grand Parade Café Llinares Sallis Benney Theatre, Grand 04 PROGRAMME AT A GLANCE 04 PROGRAMME Parade Building 6 06 DAY BY DAY TIMETABLES 7 TUESDAY 9 JULY MORNING Room 09:30 – 10:15 – 10:30 10:30 – 11:45 11:45 – 13:00 – 14:30 10:15 13:00 Sallis Welcome Introduction Keynote 1 Chair Lucy Bolton Helen Kennedy (Head of Janet Harbord: Film as a Benney School of Media,
Recommended publications
  • Robin Campillo © Veeren Ramsamy / Bestimage - Unifrance
    10 NOUVEAUX TALENTS À SUIVRE 10 RISING TALENTS 10 TO TO WATCH WATCH Ils ont fait l’actualité du dernier Festival de Cannes et seront pour certains présents au 42ème Festival de Toronto. UniFrance fait le pari que vous entendrez parler de ces dix talents. Ils sont le cinéma français d’aujourd’hui et seront sur les écrans de demain. A suivre… There were in the spotlights during the last Cannes Film Festival. Some of them will attend the 42nd Toronto International Film Festival. UniFrance is ready to bet that you will certainly Sept. 2017 hear about these ten talented people. They represent the French cinema of today and will soon be on the screens worldwide. To be continued… ROBIN CAMPILLO © VEEREN RAMSAMY / BESTIMAGE - UNIFRANCE Réalisateur, monteur et scénariste, Robin Campillo, débute sa formation à La Fémis au début des années 80. Il coécrit avec Laurent Cantet L’Emploi du temps en 2001, Vers le sud en 2005 et Entre les murs en 2008, qui remporte cette année-là la Palme d’Or au Festival de Cannes. Robin Campillo obtient également le César de la meilleure adaptation en 2009. Les Revenants, son tout premier film en tant que réalisateur, sort en 2004 et sera le sujet d’inspiration de la série du même nom produite par la chaîne Canal+. En 2013, Robin Campillo réalise son deuxième film, intitulé Eastern Boys, dont il signe également le scénario et le montage. Il obtient le Prix du meilleur film en 2013 dans la catégorie « Orizzonti » à la Mostra de Venise et le Prix du meilleur film en 2014 au Festival de Santa Barbara.
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Downloaded From: Publisher: Taylor & Francis (Routledge) DOI
    Vanderschelden, I (2016) Money for writing: Screenplay development and screenwriters earnings in French cinema. Studies in French Cinema, 16 (2). pp. 118-133. ISSN 1471-5880 Downloaded from: https://e-space.mmu.ac.uk/618584/ Publisher: Taylor & Francis (Routledge) DOI: https://doi.org/10.1080/14715880.2016.1164418 Please cite the published version https://e-space.mmu.ac.uk Money for writing: Screenplay development and screenwriters’ earnings in French cinema Isabelle Vanderschelden1 Department of Languages Information and Communication, Manchester Metropolitan University, 70 Oxford St, Manchester, M1 5NH ABSTRACT The funds allocated to developing screenplays currently constitute on average 2 to 3% of the overall budget of a film in France. Producers are more than ever dependent on presenting attractive draft screenplays to find their financial partners. As a result, screenwriters undoubtedly are active economic partners of production planning, but they do not seem to receive much professional recognition for this vital role. Moreover, their earnings often fail to reflect the amount of work produced and do not reward adequately the risks taken, including the possibility that production could stop after the screenplay is written. This article investigates the place of screenplay development within the economics of French cinema. Using recently published official reports and interviews, we identify different types of screenwriters and address their working conditions – freestanding screenwriters, writing teams, and screenwriters co-writing with the director. We survey some of the contract modalities for the remuneration of professional screenwriters. Finally, we review the proposals made by different professional bodies to improve the remuneration of screenwriters and reform the financing of screenwriting.
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • A Stylistic Approach to the God of Small Things Written by Arundhati Roy
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of English 2007 A stylistic approach to the God of Small Things written by Arundhati Roy Wing Yi, Monica CHAN Follow this and additional works at: https://commons.ln.edu.hk/eng_etd Part of the English Language and Literature Commons Recommended Citation Chan, W. Y. M. (2007). A stylistic approach to the God of Small Things written by Arundhati Roy (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/eng_etd.2 This Thesis is brought to you for free and open access by the Department of English at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY CHAN WING YI MONICA MPHIL LINGNAN UNIVERSITY 2007 A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY by CHAN Wing Yi Monica A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in English Lingnan University 2007 ABSTRACT A Stylistic Approach to The God of Small Things written by Arundhati Roy by CHAN Wing Yi Monica Master of Philosophy This thesis presents a creative-analytical hybrid production in relation to the stylistic distinctiveness in The God of Small Things, the debut novel of Arundhati Roy.
    [Show full text]
  • LINEWAITERS' GAZETTE Title Index
    LINEWAITERS' GAZETTE Title Index A. Friend Needs Kidney [A], 2/16/17 Abimbola Wali: 25 Years of Baking in Brooklyn [A], 12/16/99 Activism Profile: JFREJ—Jews for Racial and Economic Justice [A], 10/26/06 Activities in Prospect Park [PE], 7/3/97 Actualizing Democracy at the Coop [A], 6/8/95; 3/14/96 Addendum to the 3/26/02 Working Paper on the Truth-in-Pricing Laws [A], 5/16/02 Addressing Coop Growth [CC], 3/20/03 Adios, Sayonara, Goodbye [PE], 9/7/00 Affordable Culinary Holiday Gifts: Buy a Basketful for Your Favorite Cook or Host [A], 12/4/08 After This Winter [S], 4/12/07 The Age of Consequences: Special Private Film Screening [A], 9/1/16 Aged to Perfection: The Cheese Caves of Crown Heights [A], 7/19/18 Agenda Committee Elections [A], 9/28/95; 10/26/95 Agenda Committee Elections: Four Terms Expiring in October—An Interesting Coop Workslot Opportunity [A], 10/10/96 Agenda Committee Report: Seeking Members for an Interesting, Challenging Workslot: Agenda Committee Election Scheduled for October 29 GM [A], 9/19/02 Agenda Committee Seeks New Members: Election Scheduled for October 29 GM [A], 10/17/02 Agenda Item [A], 5/21/98 Ah Sugar, Sugar, Salt and Fat [A], 3/7/13 AIDS Ride Follow-up!! [A], 10/12/95 Ain't No Mountain High Enough [A], 3/24/11 Air Purifiers: What You Need to Know [A], 3/6/03 Aisle 4A....Vitamins + More... Improvements Galore! (Draft 1) [A], 2/16/17 Albany Eyes Supplement Industry [A], 7/5/07 Albright Delivers Fascism Warning Amidst Protests [A], 5/10/18 Alexis, Who Made the Coop Smile [A], 3/7/13 All for Fun and Fun for
    [Show full text]
  • FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK a Thesis
    NEW VERNACULARS AND FEMININE ECRITURE; TWENTY- FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2015 Acknowledgements Thanks to Chris Kraus, Eileen Myles and Rachel Garfield for boosting my morale in times of great uncertainty. To my supervisors Michael Mazière and Rosie Thomas for rigorous critique and sound advice. To Jelena Stojkovic, Alisa Lebow and Basak Ertur for camaraderie and encouragement. To my father Alfred for support. To Lucy Harris and Sophie Mayer for excellent editorial consultancy. To Anya Lewin, Gillian Wylde, Cathy Gelbin, Mark Pringle and Helen Pritchard who helped a lot one way or another. And to all the filmmakers, writers, artists and poets who make this work what it is. Abstract New Vernaculars and Feminine Ecriture; Twenty First Century Avant-Garde Film. Ruth Novaczek This practice-based research project explores the parameters of – and aims to construct – a new film language for a feminine écriture within a twenty first century avant-garde practice. My two films, Radio and The New World, together with my contextualising thesis, ask how new vernaculars might construct subjectivity in the contemporary moment. Both films draw on classical and independent cinema to revisit the remix in a feminist context. Using appropriated and live-action footage the five short films that comprise Radio are collaged and subjective, representing an imagined world of short, chaptered ‘songs’ inside a radio set. The New World also uses both live-action and found footage to inscribe a feminist transnational world, in which the narrative is continuous and its trajectory bridges, rather than juxtaposes, the stories it tells.
    [Show full text]
  • Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
    WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P.
    [Show full text]
  • Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
    International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • BERGAMO FILM MEETING International Film Festival 39Th Edition, April 24 - May 2, 2021
    BERGAMO FILM MEETING International Film Festival 39th edition, April 24 - May 2, 2021 Mia Hansen-Løve (France) and João Nicolau (Portugal) are the protagonists of Europe, Now!, the Bergamo Film Meeting section dedicated to contemporary European filmmakers. For this 39th edition of Bergamo Film Meeting, the exploration of contemporary European cinema will focus on the works of Mia Hansen-Løve (France) and João Nicolau (Portugal). The section will showcase - for the first time in Italy - the complete works of both these filmmakers, characterised by particular attention to the turmoil of individuals immersed in the contradictions of society and by the sharpness of their introspective approach to narration. The section will also be complemented by a selection of graduation films from the European film schools participating in the CILECT program, in collaboration with the Civica Scuola di Cinema Luchino Visconti of Milan, and by e da Europe, Now! Film Industry Meetings (April 26-27), a two-day panel for film industry professionals established as a platform for networking and keeping up to date with the opportunities offered by festivals, markets, training programs, European and national funds. Scheduled to take place between April 24 and May 2, the Festival offer also includes 7 feature films in Italian preview in the Competition-Exhibition section; 16 documentaries in the Close-Up section; a retrospective dedicated Volker Schlöndorff, director, screenwriter, producer, actor and one of the most significant representatives of post-war German cinema; an animation cinema section dedicated to the complete works of Polish animator Izabela Plucińska; the Encounters - Cinema and Contemporary Art section, exploring the possible contaminations between cinema and the arts; the Kino Club section, for young viewers; along with a diverse array of previews and special events made possible thanks to a network of collaborations with the most active local cultural institutions and enterprises of the territory.
    [Show full text]
  • Gender Critical at Work – Media Compilation
    GENDER CRITICAL AT WORK Search MENU tuesday march 30 2021 Linda Bellos had said she would be ‘publicly questioning’ some transgender politics ROGER ASKEW Linda Bellos barred in Cambridge University row James Gillespie and Sian Griffiths Sunday October 01 2017, 12.01am, The Sunday Times Share Save A leading feminist has had an invitation to speak at Cambridge University withdrawn amid concerns that transgender activists could oppose her. Linda Bellos had been invited by the Beard Society at Peterhouse College and sent a list of dates — which were withdrawn after she said she would be “publicly questioning some of the trans politics . which seems to assert the power of those who were previously designated male to tell lesbians, and especially lesbian feminists, what to say and think”. Ailish Maroof, the co-president of the society, which describes itself as a “gender and feminism” group, replied: “I’m sorry but we’ve decided not to host you. I too believe in freedom of expression, however Peterhouse is as much a home as it is a college. The welfare of our students in this instance has to come first.” The prospect of laws to let men redefine their gender without a physical transition and then gain access to changing rooms and women’s refuges has angered many. “I’m not being told by someone who a few months ago was a man what I as a woman can or cannot do,” Bellos said. Maroof declined to comment. Search MENU tuesday march 30 2021 Heather Brunskell-Evans had been asked to give a talk this week on the subject of pornography and the sexualisation of young women Barred academic Heather Brunskell- Evans warns of cowardice over trans issues Lucy Bannerman Thursday November 23 2017, 12.01am, The Times Share Save An academic who was no-platformed by university students after she discussed transgender issues on a radio show has attacked the “reprehensible cowardliness” of public institutions.
    [Show full text]