Prof a U Adamu BUK 15Th Inaugural Lecture 2014
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space in Cinematic Discourse
Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space In Cinematic Discourse Dr. Ammar Ibrahim Mohammed Al-Yasri Television Arts specialization Ministry of Education / General Directorate of Holy Karbala Education [email protected] Article History: Received: 11 January 2021; Revised: 12 February 2021; Accepted: 27 March 2021; Published online: 16 April 2021 Abstract: There is no doubt that artistic races are the fertile factor in philosophy in all of its perceptions, so cinematic discourse witnessed from its early beginnings a relationship to philosophical thought in all of its proposals, and post-colonial philosophy used cinematic discourse as a weapon that undermined (colonial) discourse, for example cinema (Novo) ) And black cinema, Therefore, the title of the research came from the above introduction under the title (undermining the colonial space in cinematic discourse) and from it the researcher put the problem of his research tagged (What are the methods for undermining the colonial space in cinematic discourse?) And also the first chapter included the research goal and its importance and limitations, while the second chapter witnessed the theoretical framework It included two topics, the first was under the title (post-colonialism .. the conflict of the center and the margin) and the second was under the title (post-colonialism between cinematic types and aspects of the visual form) and the chapter concludes with a set of indicators, while the third chapter included research procedures, methodology, society, sample and analysis of samples, While the fourth chapter included the results and conclusions, and from the results obtained, the research sample witnessed the use of undermining the (colonial) act, which was embodied in the face of violence with violence and violence with culture, to end the research with the sources. -
Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and tele vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr. -
1 GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29
GEORGE MASON UNIVERSITY VISITING FILM SERIES April 29, 2020 I am pleased to be here to talk about my role as Deputy Director of the Washington, DC International Film Festival, more popularly known as Filmfest DC, and as Director of the Arabian Sights Film Festival. I would like to start with a couple of statistics: We all know that Hollywood films dominate the world’s movie theaters, but there are thousands of other movies made around the globe that most of us are totally unaware of or marginally familiar with. India is the largest film producing nation in the world, whose films we label “Bollywood”. India produces around 1,500 to 2,000 films every year in more than 20 languages. Their primary audience is the poor who want to escape into this imaginary world of pretty people, music and dancing. Amitabh Bachchan is widely regarded as the most famous actor in the world, and one of the greatest and most influential actors in world cinema as well as Indian cinema. He has starred in at least 190 movies. He is a producer, television host, and former politician. He is also the host of India’s Who Wants to Be a Millionaire. Nigeria is the next largest film producing country and is also known as “Nollywood”, producing almost 1000 films per year. That’s almost 20 films per week. The average Nollywood movie is produced in a span of 7-10 days on a budget of less than $20,000. Next comes Hollywood. Last year, 786 films were released in U.S. -
Envisaging Historical Trauma in New French Extremity Christopher Butler University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity Christopher Butler University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Butler, Christopher, "Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4648 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity by Christopher Jason Butler A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts in Film Studies Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Amy Rust, Ph. D. Scott Ferguson, Ph. D. Silvio Gaggi, Ph. D. Date of Approval: July 2, 2013 Keywords: Film, Violence, France, Transgression, Memory Copyright © 2013, Christopher Jason Butler Table of Contents List of Figures ii Abstract iii Chapter One: Introduction 1 Recognizing Influence -
The French New Wave and the New Hollywood: Le Samourai and Its American Legacy
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 109–120 The French New Wave and the New Hollywood: Le Samourai and its American legacy Jacqui Miller Liverpool Hope University (United Kingdom) E-mail: [email protected] Abstract. The French New Wave was an essentially pan-continental cinema. It was influenced both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood renaissance, the uniquely creative period of American filmmaking running approximately from 1967–1980. This article will examine this cultural exchange and enduring cinematic legacy taking as its central intertext Jean-Pierre Melville’s Le Samourai (1967). Some consideration will be made of its precursors such as This Gun for Hire (Frank Tuttle, 1942) and Pickpocket (Robert Bresson, 1959) but the main emphasis will be the references made to Le Samourai throughout the New Hollywood in films such as The French Connection (William Friedkin, 1971), The Conversation (Francis Ford Coppola, 1974) and American Gigolo (Paul Schrader, 1980). The article will suggest that these films should not be analyzed as isolated texts but rather as composite elements within a super-text and that cross-referential study reveals the incremental layers of resonance each film’s reciprocity brings. This thesis will be explored through recurring themes such as surveillance and alienation expressed in parallel scenes, for example the subway chases in Le Samourai and The French Connection, and the protagonist’s apartment in Le Samourai, The Conversation and American Gigolo. A recent review of a Michael Moorcock novel described his work as “so rich, each work he produces forms part of a complex echo chamber, singing beautifully into both the past and future of his own mythologies” (Warner 2009). -
World Cinema Amsterd Am 2
WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival. -
Comparing the New Cinemas of France, Japan and Brazil
WASEDA RILAS JOURNALWaves NO. on Different4 (2016. 10) Shores: Comparing the New Cinemas of France, Japan and Brazil Waves on Different Shores: Comparing the New Cinemas of France, Japan and Brazil Richard PEÑA Abstract What is the place of “comparative” film historiography? In an era that largely avoids over-arching narratives, what are the grounds for, and aims of, setting the aesthetic, economic or technological histories of a given national cinema alongside those of other nations? In this essay, Prof. Richard Peña (Columbia University) examines the experiences of three distinct national cinemas̶those of France, Japan and Brazil̶that each witnessed the emer- gence of new movements within their cinemas that challenged both the aesthetic direction and industrial formats of their existing film traditions. For each national cinema, three essential factors for these “new move” move- ments are discussed: (1) a sense of crisis in the then-existing structure of relationships within their established film industries; (2) the presence of a new generation of film artists aware of both classic and international trends in cinema which sought to challenge the dominant aesthetic practices of each national cinema; and (3) the erup- tion of some social political events that marked not only turning points in each nation’s history but which often set an older generation then in power against a defiant opposition led by the young. Thus, despite the important and real differences among nations as different as France, Japan and Brazil, one can find structural similarities related to both the causes and consequences of their respective cinematic new waves. Like waves, academic approaches to various dis- personal media archives resembling small ciné- ciplines seem to have a certain tidal structure: mathèques, the idea of creating new histories based on sometimes an approach is “in,” fashionable, and com- linkages between works previously thought to have monly used or cited, while soon after that same little or no connection indeed becomes tempting. -
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. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: May 7, 2007 I, __Anna Alich_____________________________________________, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: Alienation in Tout va bien (1972) This work and its defense approved by: Chair: _Kimberly_Paice, PhD___________ _Michael Carrasco, PhD__________ _Steve Gebhardt ______________ _______________________________ _______________________________ Alienation in Jean-Luc Godard’s Tout Va Bien (1972) A thesis presented to the Art History Faculty of the College of Design, Architecture, Art, and Planning University of Cincinnati in candidacy for the degree of Master of Arts in Art History Anna Alich May 2007 Advisor: Dr. Kimberly Paice Abstract Jean-Luc Godard’s (b. 1930) Tout va bien (1972) cannot be considered a successful political film because of its alienated methods of film production. In chapter one I examine the first part of Godard’s film career (1952-1967) the Nouvelle Vague years. Influenced by the events of May 1968, Godard at the end of this period renounced his films as bourgeois only to announce a new method of making films that would reflect the au courant French Maoist politics. In chapter two I discuss Godard and the Dziga Vertov Group’s last film Tout va bien. This film displays a marked difference in style from Godard’s earlier films, yet does not display a clear understanding of how to make a political film of this measure without alienating the audience. In contrast to this film, I contrast Guy Debord’s (1931-1994) contemporaneous film The Society of the Spectacle (1973). As a filmmaker Debord successfully dealt with alienation in film. -
Mother Tongue Film Festival
2016–2020 Mother Tongue Film Festival Five-Year Report RECOVERING VOICES 1 2 3 Introduction 5 By the Numbers 7 2016 Festival 15 2017 Festival 25 2018 Festival 35 2019 Festival 53 2020 Festival 67 Looking Ahead 69 Appendices Table of Contents View of the audience at the Last Whispers screening, Terrace Theater, Kennedy Center. Photo courtesy of Lena Herzog 3 4 The Mother Tongue Film Festival is a core to the Festival’s success; over chance to meet with guest artists and collaborative venture at the Smithso- time, our partnerships have grown, directors in informal sessions. We nian and a public program of Recov- involving more Smithsonian units and have opened the festival with drum ering Voices, a pan-institutional pro- various consular and academic part- and song and presented live cultural gram that partners with communities ners. When launched, it was the only performances as part of our festival around the world to revitalize and festival of its kind, and it has since events. sustain endangered languages and formed part of a small group of local knowledge. The Recovering Voices and international festivals dedicated We developed a dedicated, bilingual partners are the National Museum of to films in Indigenous languages. (English and Spanish) website for Natural History, the National Museum the festival in 2019, where we stream of the American Indian, and the Cen- Over its five editions, the festival has several works in full after the festival. ter for Folklife and Cultural Heritage. grown, embracing a wide range of And, given the changing reality of our Through interdisciplinary research, audiovisual genres and experiences, world, we are exploring how to pres- community collaboration, and pub- drawing audiences to enjoy screen- ent the festival in a hybrid live/on- lic outreach, we strive to develop ef- ings often at capacity at various ven- line model, or completely virtually, in fective responses to language and ues around Washington, DC. -
Ar Risalah) Among the Moroccan Diaspora
. Volume 9, Issue 1 May 2012 Connecting Islam and film culture: The reception of The Message (Ar Risalah) among the Moroccan diaspora Kevin Smets University of Antwerp, Belgium. Summary This article reviews the complex relationship between religion and film-viewing among the Moroccan diaspora in Antwerp (Belgium), an ethnically and linguistically diverse group that is largely Muslim. A media ethnographic study of film culture, including in-depth interviews, a group interview and elaborate fieldwork, indicates that film preferences and consumption vary greatly along socio-demographic and linguistic lines. One particular religious film, however, holds a cult status, Ar Risalah (The Message), a 1976 historical epic produced by Mustapha Akkad that deals with the life of the Prophet Muhammad. The film’s local distribution is discussed, as well as its reception among the Moroccan diaspora. By identifying three positions towards Islam, different modes of reception were found, ranging from a distant and objective to a transparent and subjective mode. It was found that the film supports inter-generational religious instruction, in the context of families and mosques. Moreover, a specific inspirational message is drawn from the film by those who are in search of a well-defined space for Islam in their own lives. Key words: Film and diaspora, media ethnography, Moroccan diaspora, Islam, Ar Risalah, The Message, Mustapha Akkad, religion and media Introduction The media use of diasporic communities has received significant attention from a variety of scholarly fields, uncovering the complex roles that transnational media play in the construction of diasporic connectedness (both ‘internal’ among diasporic communities as well as with countries of origin, whether or not ‘imagined’), the negotiation of identity and the enunciation of socio-cultural belongings. -
MMF-2017 Katalog.Pdf
2 Welcome to MAFF Market Forum MAFF Market Forum 2 3 4 e city of Malmö Welcome to Malmö 5 7 Meet the experts Forum 40 41 Schedule Market Screenings 54 64 Critics Without Borders Nordic countries – Egypt 2017 Case Study / Beauty And e Dogs 70 CONTENT 1 General Manager Mouhamad Keblawi Photographer: Yazan Saad I WANT TO WISH YOU all a warm welcome to MAFF Market Forum 2017. We are both excited and proud to present our third edition of this unique and propitious industry platform. MAFF Market Forum was launched with the ambition to bring the two worlds together, intertwining them with a tailored program created to build partnerships in an intimate environment. We bring together producers, funders, distributors and lm professionals in order to foster a cultural exchange and expand the production landscape. MAFF Market Forum was sprung out of the same ambition as the festival itself; to promote the Arab lm industry, create a gender and cultural diversity in the lm industry, and of course - to ensure all stories get a chance to be heard and seen. Even before the implementation of the rst edition of MAFF Market Forum, we realized that the initiative would have a major impact. Said and done - today, after only two years, several Nordic-Arabic lm collaborations have been implemented and initiated through our platform. And when we say our platform, we include an incredibly important part of the success; the participants. We are beyond thrilled to every year welcome lm professionals from all over the world. is year is no exception, and some of the most signicant and inuential institutes and organizations from both the Nordic countries and the Arab world are attending.