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Spanish 371–The Cinema of Spain: Nation, Exile, and Social Marginalization
WILLIAM PATERSON UNIVERSITY OF NEW JERSEY DEPARTMENT OF LANGUAGES AND CULTURES I. Course title: SPANISH 371–THE CINEMA OF SPAIN: NATION, EXILE, AND SOCIAL MARGINALIZATION, Prerequisites: Span 221, Span 250. Credits: 3 Winter, 2011 Level: Undergraduate Dr. Bruce Williams [email protected] II. Course description: Course presents an introduction to the cinema of Spain from the political allegories and exile films of the Franco era to the cultural renaissance of the 1980s. Cinema is viewed as an inherent part of twentieth-century Peninsular literary/cultural production. Special attention is devoted to the unique situations of Spanish history which render the country’s cinema considerably distinct from other European national traditions. Topics to be discussed include the representation of nation in film, surrealist visions, women and cinema, and minority discourses. Course taught in Spanish. III. Course objectives: 1. Course will present an in-depth critical overview of theoretical approaches common in the study of Peninsular Spanish cinema. 2. It will explore historical factors which led to the evolution of a unique sense of “nation” in this cinema. 3. It will examine the notion of exile cinema. 4. Course will foster interpretative skills which facilitate an understanding of the development of cinema in Spain from the Franco dictatorship to the movida of the 1980s. 5. It will examine Spain’s minority cinemas (Galicia, Basque Country, Catalunya) and will situate these divergent discourses within the broader context of world cinema. IV. Student learning outcomes: 1. Students will demonstrate ability to contextualize Spanish cinema within the broader scope of world cinema. 2. They will discuss orally and in writing principal directors (Buñuel, Saura, Almodóvar, Bigas Luna). -
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Contents Curating Film
Issue # 03/10 : Curating Film Freely distributed, non - commercial, digital publication an artwork. The sound track (where it exists) often clashes in a disturbing manner with the other works on view in the same room. The typical cinema ar- rangement, consisting of a dark room, a film, a projection, and the audience, is so closely associated with the act of watching a film that is virtually seems like a must, and, unsur- prisingly, large, international art institutions are increas- ingly having their own cinemas built for the purpose of showing these works. The distinguished media theorist Christian Metz associates the space of the imagination, the space of pro- jection, with the present economic order: “It has often rightly been claimed that cinema is a technique of the imagin- ation. On the other hand, this technique is characteristic of a historical epoch (that of capitalism) and the state of a society, the so-called indus- trial society.”1 Scopophilia (pleasure in looking) and voyeurism are deeply inscribed in our society; in a cinema, the audience is placed at a voyeuristic distance and can unashamedly satisfy his cur- iosity. Passiveness, a play with identifications and a CONTENTS CURATING consumption-oriented attitude constitute the movie-watchers’ 01 Introduction position. Laura Mulvey moreover FILM calls attention to the fact that 02 The Cinema Auditorium the visual appetite is as much Interview with Ian White dominated by gender inequality as the system we live in.2 Natu- 04 The Moving Image rally, (experimental) films and Interview with Katerina Gregos INTRODUCTION the various art settings in which they are presented can 07 Unreal Asia and will violate the conventions Interview with Gridthiya Gaweewong and David Teh Siri Peyer of mainstream cinema from case to case. -
80 Years of Spanish Cinema Fall, 2013 Tuesday and Thursday, 9:00-10:20Am, Salomon 004
Brown University Department of Hispanic Studies HISP 1290J. Spain on Screen: 80 Years of Spanish Cinema Fall, 2013 Tuesday and Thursday, 9:00-10:20am, Salomon 004 Prof. Sarah Thomas 84 Prospect Street, #301 [email protected] Tel.: (401) 863-2915 Office hours: Thursdays, 11am-1pm Course description: Spain’s is one of the most dynamic and at the same time overlooked of European cinemas. In recent years, Spain has become more internationally visible on screen, especially thanks to filmmakers like Guillermo del Toro, Pedro Almodóvar, and Juan Antonio Bayona. But where does Spanish cinema come from? What themes arise time and again over the course of decades? And what – if anything – can Spain’s cinema tell us about the nation? Does cinema reflect a culture or serve to shape it? This course traces major historical and thematic developments in Spanish cinema from silent films of the 1930s to globalized commercial cinema of the 21st century. Focusing on issues such as landscape, history, memory, violence, sexuality, gender, and the politics of representation, this course will give students a solid training in film analysis and also provide a wide-ranging introduction to Spanish culture. By the end of the semester, students will have gained the skills to write and speak critically about film (in Spanish!), as well as a deeper understanding and appreciation of Spain’s culture, history, and cinema. Prerequisite: HISP 0730, 0740, or equivalent. Films, all written work and many readings are in Spanish. This is a writing-designated course (WRIT) so students should be prepared to craft essays through multiple drafts in workshops with their peers and consultation with the professor. -
Introduction
Notes Introduction 1. Gellner differentiates nations from states and holds that both can emerge independent of each other. See Gellner, E. 2008. Nations and Nationalism. New York: Cornell University Press. 2. During the inter-war period and war years documentary was used for propa- gandist purposes to shape favourable public opinion towards the war. Leni Riefenstahl’s spectacular representations of Germany around the time of the Nazi ascendance to power, and Britain’s charged propaganda documentaries during the war both come to mind here. Propagandist documentary has also been mobilized to celebrate national development and planning pro- grammes, for example, Dziga Vertov’s dynamic representations of the Soviet Union’s five-year plans through his kino-pravda series and other full-length documentaries. The vast body of investigative, activist and exposé documen- taries has questioned nations, their institutions and ideological discourses. 3. Corner, J. 1996. The Art of Record: A Critical Introduction to Documentary. New York: Manchester University Press. 4. I take my cue here from Noel Carroll who, while discussing objectivity in relation to the non-fiction film, argues that documentary debate has been marred by con- fusions in the use of language that conflate objectivity with truth (Carroll 1983: 14). While I agree with Carroll that lack of objectivity does not necessarily mean bias, as a practitioner I am inclined to hold documentary making and reception as subjective experiences exercising subjects’, makers’ and the audiences’ ideo- logical stances, knowledge systems and even aesthetic preferences. 5. Governmental and semi-governmental funding bodies such as Prasar Bharati (Broadcasting Corporation of India), Public Service Broadcasting Trust and the Indian Foundation for the Arts offer financial support for documentary makers and Indian filmmakers have also secured funding from international agencies such as the European Union’s cultural funds. -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries. -
List of Films Considered the Best
Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics. -
A Feminist Representation in Pakistani Cinema: a Case Study of “Bol” the Movie
New Media and Mass Communication www.iiste.org ISSN 2224-3267 (Paper) ISSN 2224-3275 (Online) Vol.43, 2015 A Feminist Representation in Pakistani Cinema: A Case Study of “Bol” The Movie Aqsa Iram Shahzadi Assistant Professor Department of Communication Studies, Bahauddin Zakariya University Multan Abstract The Study analyses the Pakistani movie ‘Bol’ particularly from the feminist perspective. Qualitative discourse analysis is the method used by the researcher. To analyze feminist ideology five categories (realization of self, concept of patriarchy, challenging patriarchal ideologies, male chauvinism and reproductive rights) are constructed. Findings show that the movie is based on liberal feminist ideologies. The analysis also finds the fact that creation of ideologies and distribution of power is done through language. Study explores the ways through which ideologies are constructed and manipulated through media. Keywords: Liberal Feminism, Discourse Analysis, Movie, Bol, Introduction The role of the media, in the modern world cannot be underestimated and media is considered as a tool for the production and dissemination of the ideology that serves the interests of the group/class that exercises economic and political control over it. Media occupies a strategic place in the game of power relation with in a social formation. Film is very important media, which can bring change in society. This is best source of entertainment yet is also used for information, education and as well as a tool of propaganda to make opinion or to converse the world opinion. Every movie in the world is made on some ideology shown as reality (Buckland 2011). Ideology means ideas that form the basis of an economic or political theory or that are held by a particular group of people or person (Oxford Dictionary). -
The Cinema of Spain
Cinesthesia Volume 3 | Issue 2 Article 4 5-1-2014 The ineC ma of Spain: An Overview Shae Spencer Grand Valley State University, [email protected] Follow this and additional works at: http://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Spencer, Shae (2014) "The ineC ma of Spain: An Overview," Cinesthesia: Vol. 3 : Iss. 2 , Article 4. Available at: http://scholarworks.gvsu.edu/cine/vol3/iss2/4 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]. Spencer: The Cinema of Spain The Cinema of Spain: An Overview In the 100-plus years since cinema was introduced to Spain, Spanish filmmakers and producers have faced staggering adversity. The climate was turbulent from nearly the beginning; Spain lost the last of its colonies just two years after the first motion pictures were shown in the homeland. In the next half century, a monarchy-approved dictatorship would rise and fall, the authority of the monarchy itself would collapse, a civil war would ravage the country, and a repressive Fascist dictatorship would rise. Spanish cinema has never quite equaled the output or influence of other western European nations like France or Italy, but in recent years, film scholars and critics have taken a greater interest in the study and appraisal of Spanish film. Since the 1970s, Spanish films have benefited significantly from increased international attention, culminating in recognition by premier festivals and the American Academy of Motion Picture Arts and Sciences. -
Between Bond and Bollywood – How the Tourism and Film Industries Can Benefit from Each Other
Between Bond and Bollywood – How the Tourism and Film Industries can benefit from each other Study for the Federal Trade Associations for the Tourism and Leisure Industries (Austrian Federal Economic Chamber - WKO Austria) St. Johann im Pongau (Salzburg), 4th April 2019 For instance, what do we associate with San Francisco… WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 1 Movies create images in our minds… WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 2 Are there similar examples in Austria? WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 3 Four Austrian examples WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 4 Four Austrian examples „Der Bergdoktor“/ „Die Rückkehr des Wiedehopfs“ „The Moutain Doctor“ (2008- / „The return of the Hoopoe“ 2019) (2012) 280,000 more summer visitors 585,000 viewers (shown on the (+27%) in the region Wilder Austrian Broadcasting Corporation) Kaiser/Tyrol – higher then the – sold in over 30 countries Austrian average growth „James Bond – Spectre“ (2015) „Minecraft Vienna“ 20 minutes of Austria and 9 minutes A full-scale replica of of Tyrol location placement for a Austria's capital city Vienna global audience for an open world sandbox game. WKO / Between Bond and Bollywood © paul und collegen consulting gmbh 2019 5 Prospectively, not only the channels cinema and TV will play a role… Forecasted global growth Streaming - Over- Cinema Television Video games the-top content (OTT) +30% +19% +6% - 1% Growth per -
Monitor Newsletter June 19, 1989
Bowling Green State University ScholarWorks@BGSU Monitor University Publications 6-19-1989 Monitor Newsletter June 19, 1989 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/monitor Recommended Citation Bowling Green State University, "Monitor Newsletter June 19, 1989" (1989). Monitor. 973. https://scholarworks.bgsu.edu/monitor/973 This Book is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in Monitor by an authorized administrator of ScholarWorks@BGSU. Vol. XII., No. 46 Bowling Green State University June 19, 1989 Chang says change is inevitable Democracy message should go out to rural China Despite the fact that students in China have convince the rural populations ... against the government again, they will be received international attention from their But taking their message to the people will arrested. Education there is going to suffer demands for a democratic government, Dr. be difficult. After hundreds of thousands of because new ideas in the social science areas Stephen Chang, geography, doesn't think the students and sympathizers swarmed to Beijing and humanities will be stifled." world is going to see any radical changes soon in the past month to demand greater Chang does not believe the Chinese in the communist country. democratization and an end to nepotism and government will bow easily to international Chang was born in Shanghai, raised in Hong corruption, Premier Li Peng and President pressure againSt its actions. "Holding power is Kong and earned his doctorate at UCLA. He Yang Shangkun imposed maritial law. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111....