DOCSLIB.ORG

Representing Reality with Documentary Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Representing Reality with Documentary Film 1 Stills from films by Paul Clipson PHDS-217 // Film, Truth and Value: metaphysics, epistemology, and aesthetics of documentary film. Skidmore College Professor William Lewis Spring 2017 [email protected] Mon & Wed 02:30-03:50 PM Office: Ladd 216 Ladd 307 Office hours: by appointment Goals and Overview What is the real? Can we faithfully represent the world and its history? Is reality truth? Is there such a thing as objectivity? If so, how do we achieve it? Using various films from the history of documentary as examples, this class will attempt to answer such questions. To do so, it will examine the history of documentary practice as well as the history of thinking about documentary film. The course will include units on mimetic theory, narrative realism, scientific truth, juridical truth, institutional truth, film truth, direct cinema, self-reflexive cinema, and constructivism. As envisioned, this class will integrate methods and insights from philosophy, aesthetics, and film studies. In addition to being an interdisciplinary inquiry into the relationship 2 among image, truth, and reality, this is a course about knowing, particularly about ways to come to knowledge, as well as how to present this knowledge truthfully. Students in this course will cultivate their ability to recognize and formulate philosophical questions; to understand difficult philosophical texts, and to explain and critically examine philosophical arguments. In addition, they will learn to engage in philosophical dialogue with their peers and to mutually support their arguments using evidence and reason and the philosophical knowledge that they have gained. In addition to applying these skills and knowledge to the analysis of documentary film, students will learn the basics of film and documentary theory and will cultivate the ability to “read” films as texts as well as the basics of critical viewing. Materials Required Media • Corrigan, Timothy. A Short Guide to Writing About Film. • Course Packet (includes all other readings) • “Before-Class Screening” films are available on this course’s Blackboard site. • “In-Class Screening” films are available either at the Blackboard site or via the hyperlink in the electronic version of this syllabus. Most major films shown are also on DVD reserve at library. Assignments and Grading Written Assignments and Presentations* • Reading Responses, Film Responses, and Discussion Prep Questions 15% o To facilitate class discussion, about once a week I will ask you to prepare responses to the reading or to issues which are to be raised in class. • Competing Truths Paper 20% • Documentary Article, Summary and Presentation 20% • Representing Reality Presentation 5% • Representing Reality Term Paper 25% *No late assignments will be accepted without express permission of the instructor obtained at least 24 hours before the assignment’s due date. Violations of the Skidmore College Honor Code will result in an “F” for a class grade as well as all penalties imposed by the Honors System. Class Participation and Attendance 15% Many of the texts we will discuss in this class are very difficult and very hard to understand on our own. Because of this, and because this class includes discussion and discussions need participants, attendance is mandatory and you are expected to pay attention to and take part in all class discussions. This should also be an easy portion of your grade, given that this participation is basic to the class and demands no more of you than showing up ready to express an informed opinion after having read the texts assigned for the day and having thought about the discussion questions. This grade is based upon the quality (not necessarily quantity) of your participation. However, it is very hard to participate well if you don’t show up to class and if you rarely volunteer to speak. 3 Disabilities If you are a student with a disability and believe you will need academic accommodation, you must formally request accommodation from the Skidmore Coordinator for Students with Disabilities. You will also need to provide documentation that verifies the existence of a disability and supports your request. For further information, please call 580-8150, or stop by the office of Student Academic Services in Starbuck Center. Title IX Skidmore College considers sexual and gender-based misconduct to be one of the most serious violations of the values and standards of the College. Unwelcome sexual contact of any form is a violation of students’ personal integrity and their right to a safe environment and therefore violates Skidmore’s values. Sexual and gender- based misconduct is also prohibited by federal regulations. Skidmore College faculty are committed to supporting our students and upholding gender equity laws as outlined by Title IX. If a student chooses to confide in a member of Skidmore’s faculty or staff regarding an issue of sexual or gender-based misconduct, that faculty or staff member is obligated to tell Skidmore’s Title IX Deputy Coordinator. The Title IX Deputy Coordinator will assist the student in connecting with all possible resources for support and reporting both on and off campus. Identities and details will be shared only with those who need to know to support the student and to address the situation through the college’s processes. If the student wishes to confide in a confidential resource, The Counseling Center Staff, Health Services, and Victim Advocates are all options available. More information can be found at https://www.skidmore.edu/sgbm/ or by contacting the Title IX Deputy Coordinator. 4 5 SCHEDULE Introduction Week 1 January 22-28 Monday • Introduction o Film and Philosophy, Film as Philosophy • In-Class Screenings o Lumière Brothers. La sortie des usines Lumière (3 versions), France: 1895 (1m55s). o Lumière Brothers. L'arrivée d'un train en gare de La Ciotat, France: 1897 (49s). o Méliès, George. Visite sous marine du « Maine », France: 1904 (55s). o Méliès, Georges & Urban, Charles. The Coronation of Edward VII UK/France: 1902 (5m39s). o Godard, Jean-Luc. La Chinoise, France: 1967 (96m); selections. Wednesday • Exercise: How to watch a film for analysis & reflection. • Before-Class Screening o Cousins, M., The Story of Film: An Odyssey, episode 1: “Birth of the Cinema.” UK: 2013 (60m) • In-Class Screening o Kenji Mizoguchi. Ugetsu Monagatari, Japan: 1953 (97m). o Walsh, Raoul. The Thief of Baghdad, USA: 1924 (155m). • Readings: o Corrigan, Timothy. Chapters 1 & 2 in "Short Guide." o Film Vocabulary Hand-out [or in CP] Expository Truth Week 2 January 29-February 4 Monday • Before-Class Screening o Lorentz, Pare. The River, USA: 1928 (32m). o Kirk, Michael, The Secret History of ISIS, USA: 2016 (55m); selections. • Readings o Currie, Gregory. “Visible traces” o Nichols, Bill, “The Expository Mode” Wednesday • Readings o Dewey, John. Freedom and Culture; selections. o Corrigan, Timothy. "Film Terms and Topics," Chptr 3 in "Short Guide." 6 Reality, Representation, and Reconstruction Week 3 February 5-11 Monday • Reading: o Republic. Plato. Bk VII: 514a--522a, BK 10 sections 595a-608b. o Evans, James. “Narrative Outline of the Republic.” Wednesday • Before-Class Screening o Chang: A Drama of the Wilderness, Merian C. Cooper, Ernest B. Schoedsack : USA/Thailand [Siam]1928 (79 min). • In-Class Screening o British Movietone. Assassination attempt on King Edward VIII, UK: 1928 (5m27s); selections. o Ruttman, Walter. Berlín. Die Sinfonie der Großstadt/Symphony of a Great City, Germany: 1927 (72m); selections. • Reading o Grierson, John. “First Principles of Documentary.” (1932-34). Reality and Scientific Truth Week 4 February 12-18 Monday • Before-Class Screening o Nillson, Lennart. The Miracle of Life, USA: 1983 (59m); selections. o Mead, Margaret. Bathing Babies in Three Cultures, USA: 1954 (12m). • In-Class Screening o Asch,Timothy & Chagnon, Napoleon.The Ax Fight, Brazil: 1975 (30m). Wednesday • Readings o Winston, Brian. Claiming the Real, pages 127-142. o Urban, Charles. The Cinematograph in Science, Education and Matters of State (1907). Film Truth Week 5 February 19-25 Monday • Before-Class Screening o Vertov, Dziga. Man with a Movie Camera, USSR: 1922 (1h27m) • In-Class Screening o Vertov, Dziga. Kino Pravda, USSR: 1922; selected shorts. • Reading o Feldman, Seth. “Peace between Man and Machine.” 7 Wednesday • Readings o Petric, Vlada. “Vertov’s Cinematic Transposition of Reality.” o Corrigan, Timothy. " Style and Structure in Writing," Chptr 5 in "Short Guide." • Competing truths paper assigned. Week 6 February 26-March 4 Monday • Before-Class Screening o Dziga Vertov Group: British Sounds UK: 1967 (49m); selections. • Reading o Brecht, Bertolt, “Epic Theater”; selections. Wednesday • Before-Class Screening o Dziga Vertov Group, Ici et ailleurs, France/Palestine: 1976 (55m) • Reading o Foreman, Donal. “Godard and the Dziga Vertov Group.” Paper writing Week 7 March 5-11 Monday • Exercise o How to write a philosophy and film paper o Sharing of paper theses with peers • Readings o Corrigan, Timothy. "Style and Structure in Writing," Chapter 5 in "Short Guide." Wednesday • NO CLASS MEETING TODAY Week 8 March 12-18 Monday • SPRING BREAK Wednesday • SPRING BREAK 8 Direct Cinema/Cinéma Vérité Week 9 March 19-25 Monday • Before-Class Screening o Allan King, Warrendale, Canada: 1967 (101m) • In-Class Screening o Maysles Brothers & Zwerin, Charlotte. Salesman. USA: 1969 (90 minutes), selections. o Maysles Bros. “Interview with Jack Kroll.” USA: 1969 (53m) • Readings o Mamber, Stephen. Cinéma Vérité in America (1974); selections. • Competing truths paper due Wednesday • Before-Class Screening o Rouch, Jean. Chronique d’un Été, France: 1961 (85m). • Reading o Winston, Brian. Claiming the Real, pages 143-158. o Self-Reflexive Cinema & Hermeneutic Truth Week 10 March 26-April 1 Monday • Before-Class Screening o Shirley Clarke, Portrait of Jason, USA: 1967 (105m). • Reading (very long) o Gadamer, Hans-Georg. "The Universality of the Hermeneutic Problem" & "On the Scope and Function of Hermeneutical Reflection." Wednesday • Before-Class Screening o Riggs, Marlon.
Load more

Recommended publications
  • A Theoretical Analysis of ISIS Indoctrination and Recruitment
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2016 A Theoretical Analysis of ISIS Indoctrination and Recruitment Trevor Hawkins California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Other Political Science Commons, Other Social and Behavioral Sciences Commons, Other Sociology Commons, Political Theory Commons, Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, Social Psychology Commons, and the Theory and Philosophy Commons Recommended Citation Hawkins, Trevor, "A Theoretical Analysis of ISIS Indoctrination and Recruitment" (2016). Capstone Projects and Master's Theses. 7. https://digitalcommons.csumb.edu/caps_thes_all/7 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Running Head: ISIS RECRUITMENT A Theoretical Analysis of ISIS Indoctrination and Recruitment Tactics Trevor W. Hawkins California State University of Monterey Bay SBS: 402 Capstone II Professor Juan Jose Gutiérrez, Ph.d. Professor Gerald Shenk, Ph.d. Professor Jennifer Lucido, M.A. December 2016 ISIS RECRUITMENT 2 Table of Contents Abstract 3 Introduction 4 Theoretical Framework 6 Influence Psychology 6 Cult Indoctrination 7 Soviet Montage Theory 7 Methodology 8 Execution of Cult Indoctrination Paradigm 9 Execution of Soviet Montage Paradigm 9 Use of Analysis Technology 10 Literature Review 10 I. The Production of Reality Objective Reality 10 Moral Reality 12 Reality of the Self 13 Moral Reality in Context 14 Objective Reality in Context 15 As Context Becomes Reality 16 II.
    [Show full text]
  • ISIS Rhetoric for the Creation of the Ummah TRENDS WORKING PAPER 6/2015
    ISIS Rhetoric for the Creation of the Ummah TRENDS WORKING PAPER 6/2015 Amaryllis Georges TRENDS Research & Advisory ISIS rhetoric for the creation of the Ummah TRENDS Research & Advisory is a progressive research center that aims to help improve policy and decision-making process through research and analysis. The conclusions and recommendations of any TRENDS publications are solely those of its author(s), and do not reflect the views of the Institution, its management, or its other scholars. P.O. Box 110450, Abu Dhabi, UAE www.trendsinstitution.org 2 TRENDS Research & Advisory ISIS rhetoric for the creation of the Ummah TABLE OF CONTENTS 1 Introduction…………………………………………………………………………………………………4 2 Critical Discourse Analysis……………………………………………………………………………5 3 Study of Al-Baghdadi’s Sermon……………………………………………………………………6 4 Analysis of frequently used words & phrases in Al-Baghdadi’s sermon………18 5 Concluding Remarks…………………………………………………………………………….….…20 6 References…………………………………………………………………………………………………20 3 TRENDS Research & Advisory ISIS rhetoric for the creation of the Ummah Introduction Discourse forms and shapes itself to create and reflect our social world. Therefore, language cannot be measured as neutral (Wijsen, 2012, p. 77). Not only does it outline, regulate and strengthen our understanding of the world, but language also sets out the actions accessible to us, while eliminating and delegitimizing other worldviews (Wijsen, 2012, p. 71). In this respect discourse serves as an instrument of influence and control often used by groups motivated for power to generate and preserve hegemonic regimes (Fairclough, 1992). The purpose of this paper is to examine the linguistic strategy employed by ISIS as a means through which it constructs the notion of the Muslim Ummah (Muslim community), which seeks to lay emphasis on the unity of an international Muslim community based off the supremacy of Islam.
    [Show full text]
  • The Palgrave Handbook of Posthumanism in Film and Television the Palgrave Handbook of Posthumanism in Film and Television
    The Palgrave Handbook of Posthumanism in Film and Television The Palgrave Handbook of Posthumanism in Film and Television Edited by Michael Hauskeller University of Exeter, UK Thomas D. Philbeck World Economic Forum, Switzerland Curtis D. Carbonell Khalifa University of Science, Technology and Research, UAE Selection and editorial matter © Michael Hauskeller, Thomas D. Philbeck and Curtis D. Carbonell 2015 Individual chapters © Respective authors 2015 Softcover reprint of the hardcover 1st edition 2015 978-1-137-43031-1 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world.
    [Show full text]
  • Collisions with Hegel in Bertolt Brecht's Early Materialism DISSERTATIO
    “Und das Geistige, das sehen Sie, das ist nichts.” Collisions with Hegel in Bertolt Brecht’s Early Materialism DISSERTATION Presented in Partial Fulfillment for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jesse C. Wood, B.A., M.A. Graduate Program in Germanic Languages and Literatures The Ohio State University 2012 Committee Members: John Davidson, Advisor Bernd Fischer Bernhard Malkmus Copyright by Jesse C. Wood 2012 Abstract Bertolt Brecht began an intense engagement with Marxism in 1928 that would permanently shape his own thought and creative production. Brecht himself maintained that important aspects resonating with Marxist theory had been central, if unwittingly so, to his earlier, pre-1928 works. A careful analysis of his early plays, poetry, prose, essays, and journal entries indeed reveals a unique form of materialism that entails essential components of the dialectical materialism he would later develop through his understanding of Marx; it also invites a similar retroactive application of other ideas that Brecht would only encounter in later readings, namely those of the philosophy of Georg Wilhelm Friedrich Hegel. Initially a direct result of and component of his discovery of Marx, Brecht’s study of Hegel would last throughout the rest of his career, and the influence of Hegel has been explicitly traced in a number Brecht’s post-1928 works. While scholars have discovered proto-Marxist traces in his early work, the possibilities of the young Brecht’s affinities with the idealist philosopher have not been explored. Although ultimately an opposition between the idealist Hegel and the young Bürgerschreck Brecht is to be expected, one finds a surprising number of instances where the two men share an unlikely commonality of imagery.
    [Show full text]
  • Film Film Film Film
    Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.
    [Show full text]
  • Dziga Vertov — Boris Kaufman — Jean Vigo E
    2020 ВЕСТНИК САНКТ-ПЕТЕРБУРГСКОГО УНИВЕРСИТЕТА Т. 10. Вып. 4 ИСКУССТВОВЕДЕНИЕ КИНО UDC 791.2 Dziga Vertov — Boris Kaufman — Jean Vigo E. A. Artemeva Mari State University, 1, Lenina pl., Yoshkar-Ola, 424000, Russian Federation For citation: Artemeva, Ekaterina. “Dziga Vertov — Boris Kaufman — Jean Vigo”. Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 560–570. https://doi.org/10.21638/spbu15.2020.402 The article is an attempt to discuss Dziga Vertov’s influence on French filmmakers, in -par ticular on Jean Vigo. This influence may have resulted from Vertov’s younger brother, Boris Kaufman, who worked in France in the 1920s — 1930s and was the cinematographer for all of Vigo’s films. This brother-brother relationship contributed to an important circulation of avant-garde ideas, cutting-edge cinematic techniques, and material objects across Europe. The brothers were in touch primarily by correspondence. According to Boris Kaufman, dur- ing his early career in France, he received instructions from his more experienced brothers, Dziga Vertov and Mikhail Kaufman, who remained in the Soviet Union. In addition, Vertov intended to make his younger brother become a French kinok. Also, À propos de Nice, Vigo’s and Kaufman’s first and most “vertovian” film, was shot with the movable hand camera Kina- mo sent by Vertov to his brother. As a result, this French “symphony of a Metropolis” as well as other films by Vigo may contain references to Dziga Vertov’s and Mikhail Kaufman’sThe Man with a Movie Camera based on framing and editing. In this perspective, the research deals with transnational film circulations appealing to the example of the impact of Russian avant-garde cinema on Jean Vigo’s films.
    [Show full text]
  • Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
    1 COM 321, Documentary Form in Film, Television, & Interactive Media 1/27/17 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anderson, Paul Junun, 2015 Boogie Nights, 1997 Thomas There Will be Blood, 2007 The Master, 2012 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Antonioni, Ragazze in bianco, 1949 L’Avventura, 1960 Michelangelo Chung Kuo – Cina, 1972 La Notte, 1961 Italy L'Eclisse, 1962 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Berlinger, Joe Brother’s Keeper, 1992 Book of Shadows: Blair Witch 2, 2000 US The Paradise Lost Trilogy, 1996-2011 Facing the Wind, 2015 (all with Bruce Sinofsky) Berman, Shari The Young and the Dead, 2000 The Nanny Diaries, 2007 Springer & Pulcini, Hello, He Lied & Other Truths from Cinema Verite, 2011 Robert the Hollywood Trenches, 2002 Girl Most Likely, 2012 US American Splendor, 2003 (hybrid) Wanderlust, 2006 Blitz, Jeffrey Spellbound, 2002 Rocket Science, 2007 US Lucky, 2010 The Office, 2006-2013 (TV) Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man,
    [Show full text]
  • Video Science: Cinema As Sense Organ Rosalynn Stovall Washington University in St Louis, [email protected]
    Washington University in St. Louis Washington University Open Scholarship Graduate School of Art Theses Graduate School of Art Spring 5-16-2014 Video Science: Cinema as Sense Organ Rosalynn Stovall Washington University in St Louis, [email protected] Follow this and additional works at: https://openscholarship.wustl.edu/samfox_art_etds Part of the Art and Design Commons Recommended Citation Stovall, Rosalynn, "Video Science: Cinema as Sense Organ" (2014). Graduate School of Art Theses. ETD 11. https://doi.org/10.7936/ K7QJ7F7F. This Thesis is brought to you for free and open access by the Graduate School of Art at Washington University Open Scholarship. It has been accepted for inclusion in Graduate School of Art Theses by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Video Science: Cinema as Sense Organ by Rosalynn Stovall A thesis presented to the Sam Fox School ofDesign & Visual Arts Washington University in St. Louis In partial fulfillment of the requirements for the degree of Master ofFine Arts Thesis Advisor Monika Weiss, Associate Professor of Art Primary Advisors Monika Weiss, Associate Professor of Art Zlatko Cosic, Lecturer of Art Graduate Committee Cheryl Wassenaar, Associate Professor of Art Ila Sheren, Assistant Professor of Art History and Archaeology Stovall 1 Abstract The moving image exists at the interstice of art and science not only because it acts as a representation of human sight but also because it exemplifies the observational processes related to the scientific gaze. As such, film and video have extended human sense-perception properties by mimicking and manipulating the natural processes of the optic nerve.
    [Show full text]
  • Film Studies A-Level Induction Work to Prepare You for September 2021
    Film Studies A-Level Induction work to prepare you for September 2021 Email Miss Potts or Mr Howse if you have any questions – [email protected] or [email protected] Component 1: Varieties of film and filmmaking - Exam – 2 ½ Component 2: Global filmmaking perspectives - Exam – 2 ½ hours – 35% hours – 35% Section A: Hollywood 1930-1990 (comparative study) Section A: Global film (two-film study) Group 1: Classical Hollywood 1930- Group 2: New Hollywood (1961- Group 1: European Film Group 2: Outside Europe 1960) 1990) - Life is Beautiful (Benigni, Italy, 1997, - Dil Se (Ratnam, India, 1998, 12) - Casablanca (Curtiz, 1942, U) - Bonnie and Clyde (Penn, 1967, 15) PG) - City of God (Meirelles, Brazil, 2002) - The Lady from Shanghai (Welles, - OFOTCN (Forman, 1975, 15) - Pan’s Labyrinth (Del Toro, Spain, 2006, - House of Flying Daggers (Zhang, China, 1947, PG) - Apocalypse Now (Coppola, 1979, 15) 2004, 15) - Johnny Guitar (Ray, 1954, PG) 15) - Diving Bell (Schnabel, France 2007, 12) - Timbuktu (Sissako, Mauritania, 2014, - Vertigo (Hitchcock, 1958, PG) - Blade Runner (Scott, 1982, 15) - Ida (Pawlikowski, Poland, 2013, 15) 12A) - Some Like It Hot (Wilder, 1959, 12) - Do The Right Thing (Lee, 1989, 15) - Mustang (Erguven, Turkey, 2015, 15) - Wild Tales (Szifron, Argentina, 2014, 15) - Victoria (Schipper, Germany, 2015, 15) - Taxi Tehran (Panahi, Iran, 2015, 12) Section B: American film since 2005 (two-film study) Section B: Documentary film Section C: Film movements – Silent - Sisters in Law (Ayisi, Cameroon, 20015, Group
    [Show full text]
  • Comprehensive Annotated Listing of All Journals Selected
    5. Chang Pilwha. Annotated Listing of All Periodicals Selected7. forISSN Feminist 1225-9276. Periodicals Note: Not every periodical will have table of contents pages reproduced in this issue of Feminist Periodicals. See page 4 for a listing 8. OCLC 33094607. of periodicals in this issue. 9. Alternative Press Index; Current Contents: Social & Behavioral Sciences; IOWA Guide; Social Sciences AFFILIA: JOURNAL OF WOMEN AND SOCIAL WORK Citation Index. 1. 1986. 10. GenderWatch. 2. 4/year. 11. “AJWS is an interdisciplinary journal, publishing articles 3. $129 (indiv. print only), $779 (inst. print only), $716 (inst. pertaining to women’s issues in Asia from a feminist e-access), $795 (inst. combined), $42 (indiv. single print perspective.” issue), $214 (inst. single print issue). 4. Sage Publications, 2455 Teller Rd., Thousand Oaks, CA ASIAN WOMEN 91320 [email: [email protected]] [website: http:// 1. 1995. aff.sagepub.com]. 2. 4/year. 5. Debora Ortega & Noël Busch-Armendariz 3. $60 (student), $80 (indiv.), $120 (inst.). 6. Affilia, Howard University School of Social Work, 601 4. Asian Women, Research Institute of Asian Women, Howard Pl. N.W., Washington DC 20059; book reviews: Sookmyung Women's University, Cheongpa-ro 47gil 100, Dr. Patricia O’Brien [email: [email protected]]. Youngsan-gu, Seoul, 140-742, Korea [email: 7. ISSN 0886-1099. [email protected]] [website: http://riaw.sookmyung. 8. OCLC 12871850. ac.kr]. 9. Criminal justice, family, social science, and women’s 5. So Jin Park studies indexes. Also available on microfilm from Bell & 7. ISSN 1225-925X. Howell Information and Learning, Ann Arbor, MI. 8. OCLC 7673725, 36782501.
    [Show full text]
  • Journal of Student Research
    JOURNAL OF STUDENT RESEARCH ST. THOMAS UNIVERSITY Volume 2 Number 1 Fall 2016 Journal of Student Research EDITOR-IN-CHIEF & Maria D. Suarez – M.B.A. Candidate BOOK REVIEW EDITOR St. Thomas University ASSISTANT EDITOR & Alexandra D. Valdes – J.D. Candidate PUBLIC RELATIONS St. Thomas University COORDINATOR ASSOCIATE EDITORS Lacey A. Skorepa – Ph.D. Candidate Wayne State University Emily Bello-Pardo – Ph.D. Student American University FACULTY ADVISORS Co-Founder and Faculty Advisor Hagai Gringarten, Ph.D. Co-Founder and Faculty Advisor Raúl Fernández-Calienes, Ph.D. CONTACT INFORMATION Maria D. Suarez, Editor-in-Chief Journal of Student Research c/o Professor Hagai Gringarten, Ph.D. St. Thomas University, O’Mailia Hall 16401 N.W. 37th Avenue Miami Gardens, Fla. 33054 E-mail: [email protected] JOURNAL WEB ADDRESS http://www.stu.edu/jsr MISSION STATEMENT Like in its parent journal, the mission of the Journal of Student Research is to promote excellence in leadership practice by providing a venue for students and future academics to publish current and significant empirical and conceptual research in the arts; humanities; applied natural, and social sciences; and other areas that tests, extends, or builds leadership theory. Primarily, JSR seeks to provide a platform for academic growth. Journal of Student Research CONTENTS Editorial Details … inside front cover Mission Statement … inside front cover About the Journal … inside back cover Editorial By: Maria D. Suarez … iii ARTICLES Public Mental Health Services in Brazil: An Analysis of the Reform, Current System, and Future Challenges By: Estefania Konarek … 1 ISIS’s Forbidden Fruit: Challenges and Contradictions of State Building in Wartime By: Anh T.
    [Show full text]
  • Documentary Movies
    Libraries DOCUMENTARY MOVIES The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Days that Unexpectedly Changed America DVD-2043 56 Up DVD-8322 180 DVD-3999 60's DVD-0410 1-800-India: Importing a White-Collar Economy DVD-3263 7 Up/7 Plus Seven DVD-1056 1930s (Discs 1-3) DVD-5348 Discs 1 70 Acres in Chicago: Cabrini Green DVD-8778 1930s (Discs 4-5) DVD-5348 Discs 4 70 Acres in Chicago: Cabrini Green c.2 DVD-8778 c.2 1964 DVD-7724 9/11 c.2 DVD-0056 c.2 1968 with Tom Brokaw DVD-5235 9500 Liberty DVD-8572 1983 Riegelman's Closing/2008 Update DVD-7715 Abandoned: The Betrayal of America's Immigrants DVD-5835 20 Years Old in the Middle East DVD-6111 Abolitionists DVD-7362 DVD-4941 Aboriginal Architecture: Living Architecture DVD-3261 21 Up DVD-1061 Abraham and Mary Lincoln: A House Divided DVD-0001 21 Up South Africa DVD-3691 Absent from the Academy DVD-8351 24 City DVD-9072 Absolutely Positive DVD-8796 24 Hours 24 Million Meals: Feeding New York DVD-8157 Absolutely Positive c.2 DVD-8796 c.2 28 Up DVD-1066 Accidental Hero: Room 408 DVD-5980 3 Times Divorced DVD-5100 Act of Killing DVD-4434 30 Days Season 3 DVD-3708 Addicted to Plastic DVD-8168 35 Up DVD-1072 Addiction DVD-2884 4 Little Girls DVD-0051 Address DVD-8002 42 Up DVD-1079 Adonis Factor DVD-2607 49 Up DVD-1913 Adventure of English DVD-5957 500 Nations DVD-0778 Advertising and the End of the World DVD-1460
    [Show full text]