DOCSLIB.ORG

2013-2014 Calendar Proof FILM FILM 2022 the Art of Film (Cross-Listed

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2013-2014 Calendar Proof FILM FILM 2022 the Art of Film (Cross-Listed 2013-2014 Calendar Proof FILM FILM 2022 The Art of Film (Cross‐Listed: MAAC 2022) 3 ch (3C) [W] Introduces students to the language of motion pictures and to critical tools for discussing and writing about the 7th art – the art of film. By studying how movies function aesthetically, and how they become meaningful to audiences, students will acquire critical and formal analytical skills that will both enhance their appreciation for cinema and serve them more broadly as consumers and/or producers of visual culture. Topics will include mise‐en‐scène, framing, image composition, photographic space, colour, editing, sound, and narrative structure. FILM 2909 International Film History (Cross‐Listed: ENGL 2909) 3 ch (3C) [W] This course introduces students to major stages in the development of film as an international art. Topics include: Silent Cinema, German Expressionism, Soviet Montage, Classical Hollywood, Italian Neorealism and Modernism, French New Wave, Japanese New Wave, British New Wave, Australian New Wave, Experimental Cinema, Cinema Novo, New German Cinema, Postcolonial Cinema, Bollywood, the New Hollywood, American Independent Cinema, Dogme 95, and others. NOTE: Students who already have credit for ENGL 3194 cannot obtain credit for ENGL 2909 or FILM 2909. FILM 2998 Digital Film Production I (Cross‐Listed: MAAC 2998) 3 ch (3C) An introduction to the fundamental concepts and procedures of visual and audio production, including the techniques and aesthetics of shooting, lighting and editing. Over the course of ther term, students will engage in a series of short exercises covering a variety of styles, genres and modes. Taught cooperatively with the New Brunswick Filmmakers' Co‐Op. NOTE: Students who have received credit forMAAC/FILM/ENGL 3999 may not take this course for credit. FILM 2999 Digital Film Production II (Cross‐Listed: MAAC 2999) 3 ch (3C) This second course in the production sequence puts emphasis on applications of skills learned in MAAC 2998 by focusing on production of several short projects in various formats. Group work and analysis of student productions constitute the main course activities. Taught cooperatively with the New Brunswick Filmmakers' Co‐op. NOTE: Students who have received credit for MAAC/FILM 3998 may not take this course for credit. Prerequisites: MAAC 2998, or permission of the instructor. 1 | Page 2013-2014 Calendar Proof FILM 3066 Trauma and Seduction: Early German Cinema (A) 3 ch (3C) [W] (Cross‐Listed: WLCS 3066, MAAC 3066, and GER 3066) Beginning with the earliest silent movies and concluding with National Socialist propaganda films, this course offers an introduction to a prolific and important era in German film history: the Weimer Republic and pre‐WWII period, 1918‐1939. Our discussions will situate the films within larger political and cultural discourses. Emphasis will be placed on such topics as the Cinematic response to the trauma of WWI; German national identity; expressionism and modernity; the politics of gender and sexuality; the impact of sound on film aesthetics; the relationship between cinema and other media; the ethics of film production. Films to be studies include features by directors such as Lang, Lubitsch, Murnau, Pabst, Riefenstahl, Sagan, von Sternberg and Wiene. In English. FILM 3072 (Re)constructing National Identity: 3 ch (3C) [W] Contemporary German Cinema (A) (Cross‐Listed: WLCS 3702, MAAC 3072, and GER 3072) Studies the major accomplishments of East and West German cinema of the postwar period, as well as cinematic trends since German unification. We will consider questions of narrative, genre, and authorship, examine film's relationship to other media, and focus on the dynamic interaction between film history and social history. Films to be studied include features by prominent directors such as Wolf, Fassbinder, Wenders, von Trotta, Carow, Dorrie, and Tykwer. FILM 3075 Framing Reality: Theory and Practice of Documentary Media (A) 3 ch (3C) (Cross‐Listed: MAAC 3075) This course surveys the history and aesthetics of non‐fiction filmmaking from the birth of cinema to the digital age. It will examine epistemological and ethical questions raised by documentary's encounter with reality and its attempt to present “the truth.” Films screened are drawn from an array of nations and range from the personal to the political as well as more experimental and avant‐garde works. The course includes a film production component as students will apply what they have learned in class by producing a short non‐fiction film as a final project. This course is open to students who have completed at least 30 credit hours at university level. FILM 3082 History of Canadian Cinema (A) 3 ch (3C) [W] (Cross‐Listed: WLCS 3082 & MAAC 3082) Focuses on the first half‐century of filmmaking in Canada and the nation's long struggle to develop and sustain a functioning film industry in the shadow of Hollywood. Readings and screenings trace the history of the movies in Canada from the silent era to the 1970s. Issues raised may include Canadian/American relations, national and regional identities, tensions between art and entertainment, media and cultural policy, representation of race, class, 2 | Page 2013-2014 Calendar Proof gender, and relation of Canadian film to other media (TV, radio, video) and other arts (painting, music, literature) in Canada. Open to students who have completed 45 credit hours, or with permission of the instructor. FILM 3183 Creative Writing: Screenwriting for Short Formatsand Writing for the New Media 3 ch (LE) (Cross‐Listed: ENGL 3183) An exploration, through practical exercises, of the fundamental principles of writing for both the screen, including new media, and interactive narrative, with an emphasis on feature films and dramatic television. Taught in a workshop format and limited to 15 students. All prospective students must submit a 3‐5 page treatment or story idea for a producible half‐hour film script. This course guides writers through the basics of short format screenplay structures and introduces them to basic story, character, and dialogue principles. Students will be exposed to a wide range of short films in a variety of genres and forms so that they can explore the limits and possibilities of briefer forms of cinematic storytelling. FILM 3186 Creative Writing: Feature Screenplay 3 ch (LE) (Cross‐listed: ENGL 3186) This intensive course guides writers through the basics of feature screenplay structure, character principles, archetypal storytelling, writing and rewriting strategies, and ‘the biz.’ Classes are a combination of lectures, discussion, and workshops. Prerequisite: FILM 3183, ENGL 3183, or equivalent writing experience with permission of the instructor. FILM 3903 Film Theory (Cross‐Listed: ENGL 3903) 3 ch (3C) [W] This course introduces students to the major debates in the field of film theory, including (but not limited to): Early Silent Film Theory, the Soviet Montage‐Theorists, Russian Formalism and the Bakhtin School, the Historical Avant‐gardes, French Auteur Theory and its Americanization, Third World Film and Theory, Genre and Authorship, Marxist film theory, Spectatorship, Feminist Film Theory, Cognitive and Analytic Theory, Postcolonial Film Theory, Race and Ethnicity in Cinema. NOTE: Students who already have credit for ENGL 3193 cannot obtain credit for ENGL 3903 or FILM 3903. FILM 3981 Screen ActingIntroduction to Directing and Acting for Film and Television (Cross‐ Formatted: Justified Listed: MAAC 3981) 3 ch (1.5 C/WS) (LE) 3 | Page 2013-2014 Calendar Proof A hands‐on course that explores the relationship between actor, director, script and camera. The course utilizes a set of workshop exercises that allow students to explore various modes of working with actors on a film set and during the rehearsal and audition process in order to realize the development of character within the setting of story and script. Short videos will be produced during the class that students can use as calling card films. Taught co‐operatively with the Directors Guild of Canada and ACTRA. Limited to 20 students. NOTE: Students who already have credit for ENGL 3980 or FILM 3980 “Directing and Acting for Film and Television” cannot obtain credit for FILM 3981.Explores the relationship between actor, director, script, and camera. Workshop exercises allow students to explore various modes of working with actors on a film set and during the rehearsal and audition process in order to realize the development of character within the setting of story and script. Limited to 20 students. NOTE: Students who already have credit for ENGL 3980 or FILM 3980 cannot obtain credit for FILM 3981. FILM 3998 Film Production (Cross‐Listed: MAAC 3998) 3 ch (3C/WS) (LE) This course introduces students to the processes and technical aspects of motion picture film production. Topics include: 16mm film camera, analog and digital sound recording, lighting for film, film crew roles, budgets, casting and rehearsals, locations, script breakdowns and film forms, and advanced editing. Students will participate in both the production of a short, small‐ group 16mm film project, and a larger, full‐class Super 16mm film project produced as an industry‐model film. Taught cooperatively with the New Brunswick Filmmakers’ Co‐Op and the Film Industry of New Brunswick. Limited to 20 students. NOTE: Students who already have credit for ENGL 3990 “Advanced Film Production” and/or ENGL 3999 “Film and Video Production” cannot obtain credit for FILM 3998. FILM 3999 Video Production (Cross‐Listed: MAAC 3999) 3 ch (3C/WS) (LE) This course introduces students to the processes and technical aspects of video production. Topics include: videography fundamentals, digital camera techniques, location sound recording, lighting for video, scriptwriting for documentary and dramatic productions, post‐production picture editing and finishing. Various scriptwriting, shooting and editing exercises will be done in a small group environment. Taught cooperatively with the New Brunswick Filmmakers’ Co‐ op. NOTE: Students who already have credit for ENGL 3999 “Film and Video Production” cannot obtain credit for FILM 3999.
Load more

Recommended publications
  • Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames Permalink https://escholarship.org/uc/item/5pg3z8fg Author Chien, Irene Y. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Kristen Whissel Professor Greg Niemeyer Professor Abigail De Kosnik Spring 2015 Abstract Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien Doctor of Philosophy in Film and Media Designated Emphasis in New Media University of California, Berkeley Professor Linda Williams, Chair Programmed Moves examines the intertwined history and transnational circulation of two major videogame genres, martial arts fighting games and rhythm dancing games. Fighting and dancing games both emerge from Asia, and they both foreground the body. They strip down bodily movement into elemental actions like stepping, kicking, leaping, and tapping, and make these the form and content of the game. I argue that fighting and dancing games point to a key dynamic in videogame play: the programming of the body into the algorithmic logic of the game, a logic that increasingly organizes the informatic structure of everyday work and leisure in a globally interconnected information economy.
    [Show full text]
  • From Free Cinema to British New Wave: a Story of Angry Young Men
    SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending.
    [Show full text]
  • 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).
    [Show full text]
  • FM 201 Introduction to Film Studies: German Cinema
    FM 201 Introduction to Film Studies: German Cinema Seminar Leader: Matthias Hurst Course Times: Monday, 14.00 – 15.30; Tuesday, 19.30 – 22.00 (weekly film screening); Wednesday, 14.00 – 15.30 Email: [email protected] Office Hours: Tuesday, 13.30 – 15.00 Course Description In this introductory class basic knowledge of film history and theory, film aesthetics and cinematic language will be provided; central topics are the characteristics of film as visual form of representation, the development of film language since the beginning of the 20th century, styles of filmic discourse, film analysis and different approaches to film interpretation. The thematic focus will be on German cinema with classical films by Friedrich Wilhelm Murnau, Fritz Lang, Leni Riefenstahl, Wim Wenders, Volker Schlöndorff, Rainer Werner Fassbinder, Margarethe von Trotta, Tom Tykwer and others, reflecting historical and cultural experiences and changes in German history and society as well as developments in aesthetics and cinematic style. Foundational module: Approaching Arts Through Theory Credits: 8 ECTS, 4 U.S. credits Requirements No prerequisites. Attendance is mandatory for all seminars and film screenings. Students are expected to come to seminars and film screenings punctually and prepared, to participate actively in the class discussions and to do all the course assignments on time. * Please, do not use cell phones, smart phones or similar electronic devices during seminars and screenings! Academic Integrity Bard College Berlin maintains the staunchest regard for academic integrity and expects good academic practice from students in their studies. Instances in which students fail to meet the expected standards of academic integrity will be dealt with under the Code of Student Conduct, Section III Academic Misconduct.
    [Show full text]
  • Film at Lincoln Center New Releases Series & Festivals March 2020
    Film at Lincoln Center March 2020 New Releases The Whistlers Bacurau The Truth The Traitor Series & Festivals Rendez-Vous with French Cinema Mapping Bacurau New Directors/ New Films Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY FESTIVAL Rendez-Vous with French Cinema MARCH 5–15 Co-presented with UniFrance, the 25th edition of Rendez-Vous demonstrates that the landscape of French cinema is as fertile, inspiring, and distinct as ever. Organized by Florence Almozini with UniFrance. ( In-Person Appearance) Special Student Savings! $50 All-Access Pass NEW YORK PREMIERE Deerskin Quentin Dupieux, France, 2019, 77m Oscar- winner Jean Dujardin and Adèle Haenel star in a rollicking take on the midlife crisis movie, directed by Rendez-Vous mainstay Quentin Dupieux. A Greenwich Entertainment release. Sunday, March 8, 9:15pm Saturday, March 14, 9:00pm NORTH AMERICAN PREMIERE An Easy Girl Rebecca Zlotowski, France, 2019, 92m Cuties Rebecca Zlotowski’s fourth feature taps into the universal hunger of adolescence, and OPENING NIGHT • NEW YORK PREMIERE U.S. PREMIERE imbues an empathetic coming-of-age story The Truth Burning Ghost with a sharp class critique. A Netflix release. Hirokazu Kore-eda, France/Japan, 2019, 106m Stéphane Batut, France, 2019, 104m Winner of Saturday, March 7, 9:00pm In his follow-up to the Palme d’Or–winning the prestigious Prix Jean Vigo, this smoldering Thursday, March 12, 4:00pm Shoplifters, Hirokazu Kore-eda casts two titans feature debut from Stéphane Batut is an of French cinema, Catherine Deneuve and entrancing tale of aching romanticism on the NEW YORK PREMIERE Juliette Binoche, in a film structured around the precipice of life and death.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • GN375 Revi Sed _____ Title of Course: the History of German Film New X__
    Southeast Missouri State University Depar tment of Foreign Languages Course No. GN375 Revi sed _____ Title of Course: The History of German Film New _ X__ I. Catalog Descr iption and Cr edit Hour s of Cour se: A study of the history of German film from 1919 to the present, including the Weimar Republic, the Third Reich, Post War East and West Germany, and contemporary developments. 3 credit hours II. Pr er equi si t es: German 220 (German Literature) or equivalent or consent of the instructor. III. Cour se Obj ect i ves: A. To introduce the students to the major German film directors and films of the twentieth- century. B. To develop an approach to interpret these films as an outgrowth of their cultural, political, and soci o-economic milieu. C. To gain an understanding of Germany and appreciation of the German-speaki ng world based on their films. IV. Expectations of Students: A. Assignments: Students ar e exp ected to attend al l cl asses, compl ete al l assi gned r eadi ngs, and see al l r equi r ed f i lms. All films shown are in German with English subtitles. Students will see them outside of class. Only short subjects, clips etc. will be shown in class. B. Resear ch Pr oj ect: Students will select one film director or film for their semester project. They pr esent thei r pr oj ect i n Ger man dur i ng the l ast week of cl ass. C. In-Cl ass Repor ts: Students ar e exp ected to compl ete i n-class reports on events in the German- speaki ng world, the assigned readings, and related assignments.
    [Show full text]
  • From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-Mail: [email protected]
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 16 (2019) 59–79 DOI: 10.2478/ausfm-2019-0004 From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-mail: [email protected] Abstract. The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory about the apprehensions and anxieties of everyday social and political life. My Winnipeg (2006) rescores the city symphony to reveal how personal history and cultural memory combine to structure the experience of the modern metropolis, whether it is Weimar Berlin or wintry Winnipeg. In this paper, I explore the influence of German Expressionism on Maddin’s work as well as argue that Maddin’s films preserve and perpetuate the energies and idiosyncrasies of Weimar cinema. Keywords: Guy Maddin, Canadian film, German Expressionism, Weimar cinema, cinephilia. Any effort to catalogue completely the references to, and reanimations of, German Expressionist cinema in the films of Guy Maddin would be a difficult, if not impossible, task. From his earliest work to his most recent, Maddin’s films are suffused with images and iconography drawn from the German films of the 1920s.
    [Show full text]
  • We See and All We Seem…” – Australian Cinema and National Landscape
    “All we see and all we seem…” – Australian Cinema and National Landscape Nick Prescott Note: The paper as envisioned in this abstract may prove too large in scope to fit within the parameters of the symposium. If this is the case, I propose not to explore those films I have called “transitional” in detail, but to allude to them as significant texts that can be explored elsewhere. The central argument I am making in this paper is that Australian filmmakers’ uses of “landscape” have changed significantly since the mid-1970s, and that this change can be meaningfully described by looking at what characterised 1970s Australian films’ depictions of landscape and contrasting that with current stylistic trends. In this paper I will argue that Australian feature filmmakers’ uses and depictions of “the Australian landscape” in their cinema have undergone a striking and important transformation since the 1970s, and that this transformation, while reflecting a developing and modulating sense of Australian cultural identity, has also been crucially linked with changes and developments in the Australian film industry itself, changes which relate to Government investment initiatives, increasingly complex production and co-production strategies, and, more recently, off-shore production by major Hollywood studios. During the 1970s, following the confluence of numerous different factors, there was an extraordinary revival of Australian film. The graduation of the first group of students from the newly-created Australian Film, Television and Radio School (AFTRS), was one factor; students like Gillian Armstrong and Philip Noyce left their studies and began to work in the industry, and settled alongside filmmakers like Fred Schepisi, Bruce Beresford and Peter Weir, who had entered the industry in other ways.
    [Show full text]
  • Women Directors in 'Global' Art Cinema: Negotiating Feminism And
    Women Directors in ‘Global’ Art Cinema: Negotiating Feminism and Representation Despoina Mantziari PhD Thesis University of East Anglia School of Film, Television and Media Studies March 2014 “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” Women Directors in Global Art Cinema: Negotiating Feminism and Aesthetics The thesis explores the cultural field of global art cinema as a potential space for the inscription of female authorship and feminist issues. Despite their active involvement in filmmaking, traditionally women directors have not been centralised in scholarship on art cinema. Filmmakers such as Germaine Dulac, Agnès Varda and Sally Potter, for instance, have produced significant cinematic oeuvres but due to the field's continuing phallocentricity, they have not enjoyed the critical acclaim of their male peers. Feminist scholarship has focused mainly on the study of Hollywood and although some scholars have foregrounded the work of female filmmakers in non-Hollywood contexts, the relationship between art cinema and women filmmakers has not been adequately explored. The thesis addresses this gap by focusing on art cinema. It argues that art cinema maintains a precarious balance between two contradictory positions; as a route into filmmaking for women directors allowing for political expressivity, with its emphasis on artistic freedom which creates a space for non-dominant and potentially subversive representations and themes, and as another hostile universe given its more elitist and auteurist orientation.
    [Show full text]
  • Landscape and Ecology in the Australian New Wave
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School March 2021 Threatened by the Outback: Landscape and Ecology in the Australian New Wave Richard T. Dyer University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Dyer, Richard T., "Threatened by the Outback: Landscape and Ecology in the Australian New Wave" (2021). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/8762 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]. Threatened by the Outback: Landscape and Ecology in the Australian New Wave by Richard T. Dyer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts with a concentration in Film Studies Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Amy Rust, Ph.D. Margit Grieb, Ph.D. Todd Jurgess, Ph.D. Date of Approval: March 15, 2021 Keywords: Film, Linear Perspective, Long Take, Classic Western, Revisionist Western, Anthropocentrism Copyright © 2021, Richard T. Dyer ACKNOWLEDGMENTS Thank you to those in the Humanities and Cultural Studies department who have helped this project come to fruition. In particular, I would like to thank Dr. Margit Grieb and Dr. Todd Jurgess for providing insightful feedback and stoking my interests in ecocinema and westerns.
    [Show full text]