Letter from the President

Total Page:16

File Type:pdf, Size:1020Kb

Letter from the President Letter from the President Dear Colleagues, Welcome to Seattle and the Seattle Sheraton Hotel for the 54th annual SCMS Conference. On behalf of the SCMS Board of Directors, the Home Office, the Sheraton Hotel, the Seattle Host Committee, and the consultants and volunteers who have helped to create this conference, let me say that we are delighted that you are here. We hope that the conference and city will lead to discoveries that are intellectually stimulating and socially rewarding and that will satisfy your inner urban explorer. The Host Committee, co-chaired by Jennifer Bean and Kaveh Askari, have worked hard to provide an imaginative and engaging experience for conference goers who are coming to Seattle for the first time as well as for those who might be seasoned veterans. Thank you Jennifer and Kaveh! In addition to the conference’s offerings of panels and workshops, there are a number of other events during the confer- ence that we hope you will be able to attend. The Awards Ceremony is one of the most significant means SCMS has of formally recognizing the accomplishments of our colleagues in research, teaching, and service in the field each year. This year, the ceremony will be held on Friday, March 21st from 4:15 – 5:30 PM. All members are welcome—please plan to be there to join in the celebration. While I cannot mention all of the award winners here, I am happy to announce that Richard Abel has won the Distinguished Career Achievement Award. Given his pioneering research and teaching in film history and on the early and silent cinemas of France and the US, it would be hard to overestimate the impact his impeccable work has had on the field. It is a privilege to present this prestigious award to him as a means of recognizing his career-long contribu- tion to the study of film history and historiography and to previously uncharted terrains of cinema’s earliest moments as an industry, an art, and a cultural phenomenon. It is also my pleasure to report that Timothy Corrigan will be honored with the Pedagogy Award for outstanding achievement in this area. This award recognizes the contributions he has made to pedagogy through his research, his status as an important teacher and mentor, and the books he has published that have influentially introduced students to multiple areas of film and media studies. In addition, in recognition of her extraordinary service to the field, nationally and internationally, I am delighted to announce that Patrice Petro has won this year’s Service Award. Among other achievements, she has demonstrated an unparalleled commitment to SCMS, serving as Treasurer, President-elect, President, and Past President from 2002–2013. During her tenure, she guided the organization in sig- nificant, innovative directions that remain in place as testimony to her legacy. Sincere congratulations to all eleven of our award winners this year. We look forward to celebrating your work at the ceremony. Thanks also to those who chaired and participated on the Awards committees—your professional acumen and the time you invested in making your determina- tions are greatly appreciated. The Conference Reception will be held immediately after the Awards Ceremony, from 5:30 – 7:30 PM. All SCMS members are welcome. Here, as the festivities continue over food and drink, you can meet old friends and colleagues while making new acquaintances. This year the membership elected a Treasurer and two new members of the Executive Board who will begin their tenure on July 1, 2014. Although election results were not yet known at press time for the conference program, I want to extend the Board’s thanks to the candidates who ran. The Society would come to a standstill without the willingness of our members to run for office. You have our deep appreciation for your enthusiasm about becoming more involved. As each new election 2 heralds, there are also Board members whose terms are ending. Heartfelt thanks to outgoing Treasurer Jim Castonguay who has done a magnificent job of shedding new light on the organization’s finances and making strategic decisions about our enterprises going forward. The Board won’t be the same without you. I also wish to thank outgoing Board mem- bers Pam Wojcik and Angelo Restivo for their avid participation in the organization, including their work as Board liaisons to various SCMS groups. Among other accomplishments, Pam was instrumental in getting our now annual undergradu- ate conference off the ground at Notre Dame years ago (the 2014 SCMS Undergraduate Conference will be held at the University of Oklahoma). A special shout-out to Angelo for serving as Program Chair for the SCMS Conference this year, a major position of leadership that he has occupied with grace and commitment. We will miss Jim, Pam, and Angelo on the Board and wish them all the best. We look forward to seeing them at future SCMS conferences. After serving for two years as President-elect, this is my first year as President. My experience on the Executive Board has shown me how extensively SCMS relies on the expertise and good will of a collective of hard-working people, from members who volunteer to be on standing and other committees to the Board and the staff. My gratitude goes to everyone who has actively served SCMS and its membership these past few years. On the current SCMS Board, special thanks goes to, along with colleagues mentioned above, Will Brooker (Cinema Journal editor), Steve Cohan (President-elect), Corey Creekmur (Secretary), Lindsay Giggey (Graduate Student Representative), Chris Holmlund (Past President), Sean Griffin, Kara Keeling, Neepa Majumdar, Vicki Sturtevant, and Haidee Wasson. I must add that there would be an SCMS apocalypse without the staff that serves on the Board and/or in the Home Office. Administrative Coordinator Jane Dye is a model of consummate professionalism, dedication, and collegiality. She is joined by others who likewise contribute enormously to SCMS’s well-being: Debbie Rush, Account and Budget Representative; Leslie LeMond, Conference Manager; Aviva Dove- Viebahn, Web Content Manager; Ron Evans, Program Assistant; and Bruce Brasell, Conference Program Coordinator. It’s my privilege to collaborate with these individuals. I invite all interested members to become more involved in the Society. Being involved provides a new perspective on our national organization, allowing a level of engagement that is professionally and personally enriching, while fostering opportunities for community building. Please contact us about volunteering for annual and standing committees. Also, please feel free to get in touch if you simply have questions about SCMS. We are happy to talk with you. In closing, I want to extend personal thanks to Chris Holmlund, now Past President, for her many accomplishments as President. She has left SCMS in such good working order that I have been able to assume the Presidency seamlessly. It’s great to be able to continue to work with you, Chris, over the next two years. To all attendees, enjoy the conference and the many panels, workshops, and events coming your way here in Seattle! Sincerely, Barbara Klinger President, SCMS 3 Letter from the Program Chair Dear Colleagues, On behalf of the Conference Program Committee, I would like to welcome you all to Seattle! Once again this year, we received record numbers of proposals in all categories (preconstituted panels, workshops, and open call papers), fully reflecting the vibrancy and breadth of scholarship in cinema and media studies today. Needless to say, the task of read- ing and evaluating this record number of proposals was daunting, and I want to thank all the members of the Program Committee—Steven Cohan, Kara Keeling, Sean Griffin, Haidee Wasson, Pamela Wojcik, Mark Shiel, Neepa Majumdar, Celestino Deleyto, Anu Koivunen, Nitin Govil, James Tweedie, Nick Davis, Victoria Sturtevant, John David Rhodes, Agustin Zarzosa, Cynthia Lucia, Eric Freedman, Gary Needham, Elana Levine, Tamar Jeffers McDonald, Michela Ardizzoni, and Yannis Tzioumakis—for the many hours of work they devoted helping to produce the exciting program this year. Among the most striking trends discernable in this year’s program is the increasing internationalization of our membership; scholars from nearly every region of the world are represented in the program. Another trend of note is—if I may borrow a phrase from last year’s Program Chair Barbara Klinger—more papers focused on the “M” in SCMS. Sound studies seems a particularly active subfield this year, but we see increased activity in scholarship on videogames, new media, and digital culture as well. When organizing open call papers into panels, the Program Committee sought when possible to bring together related work on different media, in order to spark conversations that cut across the sometimes artificial bound- aries erected around medium specificity. Similarly, when programming open call papers dealing with issues in national cinemas/medias, we tried to strike a balance between panels which explore similar issues across different national/regional contexts and panels which stay within a single national context. The Host Committee, working with various Scholarly Interest Groups, has put together two screenings with strong ties to the Pacific Northwest. On Thursday, on the University of Washington campus, the Burke Museum will host a screening and discussion of Edward Curtis’s silent feature film, In the Land of the Headhunters. On Saturday, the Northwest Film Forum will host a screening of the work of experimental filmmaker Harry Smith (supported by the CinemArts, Experimental Film and Media, and Animated Media SIGs). In addition, the Host Committee has secured free admission (with conference badge) to the Henry Art Gallery and the Living Computer Museum for the duration of the conference. Finally, on Thursday at 12:30 PM, the doors to the historic Paramount Theatre will open exclusively for SCMS attendees.
Recommended publications
  • Appel Candidatures
    APPEL À CANDIDATURE ATELIER DE RÉALISATION DE FILMS DOCUMENTAIRES du MARDI 31 OCTOBRE au LUNDI 18 DÉCEMBRE 2017 ALLIANCE FRANÇAISE de BANGUI Cet atelier de formation s'adresse à tous les Centrafricains, femmes et hommes, désireux de se tourner vers la réalisation de films documentaires et soucieux de rendre compte de la réalité de leur pays. Il ne concerne pas seulement des personnes qui auraient déjà une expérience de la réalisation, mais s'adresse aussi bien à des personnes venant d'horizons différents (journalistes, fixeurs, responsables associatifs, etc.) attirés par ce moyen d’expression artistique. Aucune connaissance technique n'est requise. Les participants à l'atelier seront choisis à la fois pour leur motivation, pour leur aptitude à observer la réalité qui les entoure et leur capacité à travailler en groupe. LES ATELIERS VARAN Créés par Jean Rouch en 1981, les Ateliers Varan sont une école de cinéma unique en son genre, née du désir de former des réalisateurs de pays émergents à s’emparer des outils du cinéma documentaire pour refléter leurs réalités propres. Varan n’est pas une école au sens classique et académique du terme : les méthodes de travail y poussent à l’extrême le principe d’enseignement par la pratique : tout s’articule, pour chaque stagiaire, autour de la fabrication de films « en grandeur réelle ». Cet apprentissage du “regard documentaire” s’appuie sur une pédagogie qui s’est rôdée au fil de stages et d’ateliers menés sur les cinq continents. Le but est de décomplexer les participants face au langage cinématographique et de définir le rôle et la place du cinéaste, ses enjeux éthiques par rapport aux personnes filmées et au monde qui l’entoure.
    [Show full text]
  • Kvarterakademisk
    kvarter Volume 18. Spring 2019 • on the web akademiskacademic quarter From Wander to Wonder Walking – and “Walking-With” – in Terrence Malick’s Contemplative Cinema Martin P. Rossouw has recently been appointed as Head of the Department Art History and Image Studies – University of the Free State, South Africa – where he lectures in the Programme in Film and Visual Media. His latest publications appear in Short Film Studies, Image & Text, and New Review of Film and Television Studies. Abstract This essay considers the prominent role of acts and gestures of walking – a persistent, though critically neglected motif – in Terrence Malick’s cinema. In recognition of many intimate connections between walking and contemplation, I argue that Malick’s particular staging of walking characters, always in harmony with the camera’s own “walks”, comprises a key source for the “contemplative” effects that especially philo- sophical commentators like to attribute to his style. Achieving such effects, however, requires that viewers be sufficiently- en gaged by the walking presented on-screen. Accordingly, Mal- ick’s films do not fixate on single, extended episodes of walk- ing, as one would find in Slow Cinema. They instead strive to enact an experience of walking that induces in viewers a par- ticular sense of “walking-with”. In this regard, I examine Mal- ick’s continual reliance on two strategies: (a) Steadicam fol- lowing-shots of wandering figures, which involve viewers in their motion of walking; and (b) a strict avoidance of long takes in favor of cadenced montage, which invites viewers into a reflective rhythm of walking. Volume 18 41 From Wander to Wonder kvarter Martin P.
    [Show full text]
  • Film Funding Grants Programme 2013
    Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe.
    [Show full text]
  • The Top 101 Inspirational Movies –
    The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of
    [Show full text]
  • Maternal Identities and Abject Equivalence in Biutiful Ryan, Lorraine
    University of Birmingham Maternal Identities and Abject Equivalence in Biutiful Ryan, Lorraine DOI: 10.1353/mln.2018.0025 Document Version Peer reviewed version Citation for published version (Harvard): Ryan, L 2018, 'Maternal Identities and Abject Equivalence in Biutiful', MLN - Modern Language Notes, vol. 133, no. 2, pp. 388-410. https://doi.org/10.1353/mln.2018.0025 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 20/12/2017 10.1353/mln.2018.0025 Copyright © 2018 Johns Hopkins University Press General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • Shot Types Identified Refer To: There Is a Convention in Video and Filmmaking That Assi
    Shot Types identified; Camera angles and movement 1 Info Sheet Shot Types Identified Refer to: http://www.mediacollege.com/video/shots/ There is a convention in video and filmmaking that assign names and guidelines to common types of shots, framing and picture composition. The list below briefly describes the most common shot types. The exact terminology often varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular SUBJECT. 1. EWS (Extreme Wide Shot) / Establishing Shot The view is often on the level of showing the entire landscape. The view is so far from a human subject, for example, that s/he isn't even visible. Often used as an establishing shot. 2. An establishing shot is used to show the location or environmental context of the action shot that follows. 3. VWS (Very Wide Shot) / Wide Angle The human subject is visible, but barely noticeable in the frame. The emphasis is on placing him/her in context/environment. 4. WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, or full shot. The subject is shown from head to toe. 5. MS (Medium Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject. Usually shows the subject from the hips or waist to the top of the head. 6. MCU (Medium Close Up) Half way between a MS and a CU. 7. CU (Close Up) A certain feature or part of the subject takes up the whole frame.
    [Show full text]
  • P.O.V. a Danish Journal of Film Studies
    Institut for Informations og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor: Richard Raskin Number 8 December 1999 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 8 December 1999 Udgiver: Institut for Informations- og Medievidenskab, Aarhus Universitet Niels Juelsgade 84 DK-8200 Aarhus N Oplag: 750 eksemplarer Trykkested: Trykkeriet i Hovedbygningen (Annette Hoffbeck) Aarhus Universitet ISSN-nr.: 1396-1160 Omslag & lay-out Richard Raskin Articles and interviews © the authors. Frame-grabs from Wings of Desire were made with the kind permission of Wim Wenders. The publication of p.o.v. is made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Institut for Informations- og Medievidenskab Niels Juelsgade 84 8200 Aarhus N e-mail: [email protected] fax: (45) 89 42 1952 telefon: (45) 89 42 1973 This, as well as all previous issues of p.o.v. can be found on the Internet at: http://www.imv.aau.dk/publikationer/pov/POV.html This journal is included in the Film Literature Index. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Science at Aarhus University. We will also invite contributions from colleagues at other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem.
    [Show full text]
  • 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.
    [Show full text]
  • The Korean Internet Freak Community and Its Cultural Politics, 2002–2011
    The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 by Sunyoung Yang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Anthropology University of Toronto © Copyright by Sunyoung Yang Year of 2015 The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 Sunyoung Yang Doctor of Philosophy Department of Anthropology University of Toronto 2015 Abstract In this dissertation I will shed light on the interwoven process between Internet development and neoliberalization in South Korea, and I will also examine the formation of new subjectivities of Internet users who are also becoming neoliberal subjects. In particular, I examine the culture of the South Korean Internet freak community of DCinside.com and the phenomenon I have dubbed “loser aesthetics.” Throughout the dissertation, I elaborate on the meaning-making process of self-reflexive mockery including the labels “Internet freak” and “surplus (human)” and gender politics based on sexuality focusing on gender ambiguous characters, called Nunhwa, as a means of collective identity-making, and I explore the exploitation of unpaid immaterial labor through a collective project making a review book of a TV drama Painter of the Wind. The youth of South Korea emerge as the backbone of these creative endeavors as they try to find their place in a precarious labor market that has changed so rapidly since the 1990s that only the very best succeed, leaving a large group of disenfranchised and disillusioned youth. I go on to explore the impact of late industrialization and the Asian financial crisis, and the nationalistic desire not be left behind in the age of informatization, but to be ahead of the curve.
    [Show full text]
  • Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge
    Centre for Research in the Arts, Social Sciences and Humanities Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge Invited speakers CHARLOTTE BRUNSDON (Film Studies, University of Warwick) TERESA CASTRO (Universite Sorbonne Nouvelle - Paris 3) RICHARD COYNE (Architectural Computing, Edinburgh College of Art), ROLAND-FRANÇOIS LACK and (French Studies, UCL) STEVE PILE (Human Geography, The Open University) ANDREW PRESCOTT (Digital Humanities, King’s College London) MARK SHIEL (Film Studies, King’s College London) PETER VON BAGH (Film Historian and Director, Helsinki) Conveners FRANÇOIS PENZ (University of Cambridge) RICHARD KOECK (University of Liverpool) ANDREW SAINT (English Heritage) CHRIS SPEED (Edinburgh College of Art) www.crassh.cam.ac.uk/events/2473 Battersea Power Station and Nine Elms, 1966, Aerofilms Collection, English Heritatge 1966, Aerofilms and Nine Station Elms, Power Battersea Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) Acknowledgements Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH), the Architecture Department, both at the University of Cambridge and the Arts and Humanities Research Council (AHRC). Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) | Alison Richard Building | 7 West Road Cambridge CB3 9DT | UK | www.crassh.cam.ac.uk Cinematic Urban Geographies Cinematic Urban Geographies 3 & 4 October 2013 at CRASSH (SG1&2) Conveners François Penz (Architecture Department, University of Cambridge) Co-Conveners Richard Koeck (School of Architecture, University of Liverpool) Chris Speed (Edinburgh College of Art) Andrew Saint (English Heritage) Summary The Cinematic Urban Geographies conference aims to explore the di!erent facets by which cinema and the moving image contribute to our understanding of cities and their topographies.
    [Show full text]
  • Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23Rd, 2019
    Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23rd, 2019 FOR IMMEDIATE RELEASE 24th ANNUAL NANTUCKET FILM FESTIVAL ANNOUNCES FEATURE FILM LINEUP DANNY BOYLE’S YESTERDAY TO OPEN FESTIVAL ALEX HOLMES’ MAIDEN TO CLOSE FESTIVAL LULU WANG’S THE FAREWELL TO SCREEN AS CENTERPIECE DISNEY•PIXAR’S TOY STORY 4 PRESENTED AS OPENING FAMILY FILM IMAGES AVAILABLE HERE New York, NY (April 23, 2019) – The Nantucket Film Festival (NFF) proudly announced its feature film lineup today. The opening night selection for its 2019 festival is Universal Pictures’ YESTERDAY, a Working Title production written by Oscar nominee Richard Curtis (Four Weddings and a Funeral, Love Actually, and Notting Hill) from a story by Jack Barth and Richard Curtis, and directed by Academy Award® winner Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later). The film tells the story of Jack Malik (Himesh Patel), a struggling singer-songwriter in a tiny English seaside town who wakes up after a freak accident to discover that The Beatles have never existed, and only he remembers their songs. Sony Pictures Classics’ MAIDEN, directed by Alex Holmes, will close the festival. This immersive documentary recounts the thrilling story of Tracy Edwards, a 24-year-old charter boat cook who became the skipper of the first ever all-female crew to enter the Whitbread Round the World Yacht Race. The 24th Nantucket Film Festival runs June 19-24, 2019, and celebrates the art of screenwriting and storytelling in cinema. A24’s THE FAREWELL, written and directed by Lulu Wang, will screen as the festival’s Centerpiece film.
    [Show full text]
  • Jeju Island Rambling: Self-Exile in Peace Corps, 1973-1974
    Jeju Island Rambling: Self-exile in Peace Corps, 1973-1974 David J. Nemeth ©2014 ~ 2 ~ To Hae Sook and Bobby ~ 3 ~ Table of Contents Chapter 1 Flying to Jeju in 1973 JWW Vol. 1, No. 1 (January 1, 2013) ~17~ Chapter 2 Hwasun memories (Part 1) JWW Vol. 1, No. 2 (January 8, 2013) ~21~ Chapter 3 Hwasun memories (Part 2) JWW Vol. 1, No. 3 (January 15, 2013) ~25~ Chapter 4 Hwasun memories (Part 3) JWW Vol. 1, No. 4 (January 22, 2013) ~27~ Chapter 5 The ‘Resting Cow’ unveiled (Udo Island Part 1) JWW Vol. 1, No. 5 (January 29, 2013) ~29~ Chapter 6 Close encounters of the haenyeo kind (Udo Island Part 2) JWW Vol. 1, No. 6 (February 5, 2013) ~32~ Chapter 7 Mr. Bu’s Jeju Island dojang (Part 1) JWW Vol. 1, No. 7 (February 12, 2013) ~36~ Chapter 8 Mr. Bu’s dojang (Part 2) JWW Vol. 1, No. 8 (February 19, 2013) ~38~ Chapter 9 Mr. Bu’s dojang (Part 3) JWW Vol. 1, No. 9 (February 26, 2013) ~42~ Chapter 10 Mr. Bu’s dojang (Part 4) JWW Vol. 1, No. 10 (March 5, 2013) ~44~ Chapter 11 Unexpected encounters with snakes, spiders and 10,000 crickets (Part 1) JWW Vol. 1, No. 11 (March 12, 2013) ~46~ Chapter 12 Unexpected encounters with snakes, spiders and 10,000 crickets (Part 2) JWW Vol. 1, No. 12 (March 19, 2013) ~50~ Chapter 13 Unexpected encounters with snakes, spiders and 10,000 crickets (Part 3) JWW Vol. 1, No. 13 (March 26, 2013) ~55~ Chapter 14 Unexpected encounters with snakes, spiders and 10,000 crickets (Part 4) JWW Vol.
    [Show full text]