Whole English Catalog Spring 2021
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Crazy Narrative in Film. Analysing Alejandro González Iñárritu's Film
Case study – media image CRAZY NARRATIVE IN FILM. ANALYSING ALEJANDRO GONZÁLEZ IÑÁRRITU’S FILM NARRATIVE TECHNIQUE Antoaneta MIHOC1 1. M.A., independent researcher, Germany. Corresponding author: [email protected] Abstract Regarding films, many critics have expressed their dissatisfaction with narrative and its Non-linear film narrative breaks the mainstream linearity. While the linear film narrative limits conventions of narrative structure and deceives the audience’s expectations. Alejandro González Iñárritu is the viewer’s participation in the film as the one of the directors that have adopted the fragmentary narrative gives no control to the public, the narration for his films, as a means of experimentation, postmodernist one breaks the mainstream con- creating a narrative puzzle that has to be reassembled by the spectators. His films could be included in the category ventions of narrative structure and destroys the of what has been called ‘hyperlink cinema.’ In hyperlink audience’s expectations in order to create a work cinema the action resides in separate stories, but a in which a less-recognizable internal logic forms connection or influence between those disparate stories is the film’s means of expression. gradually revealed to the audience. This paper will analyse the non-linear narrative technique used by the In the Story of the Lost Reflection, Paul Coates Mexican film director Alejandro González Iñárritu in his states that, trilogy: Amores perros1 , 21 Grams2 and Babel3 . Film emerges from the Trojan horse of Keywords: Non-linear Film Narrative, Hyperlink Cinema, Postmodernism. melodrama and reveals its true identity as the art form of a post-individual society. -
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. -
Our Kind of People: Social Status and Class Awareness in Post -Reconstruction African American Fiction
OUR KIND OF PEOPLE: SOCIAL STATUS AND CLASS AWARENESS IN POST -RECONSTRUCTION AFRICAN AMERICAN FICTION Andreá N. Williams A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English Chapel Hill 2006 Approved by Advisor: William L. Andrews Reader: James W. Coleman Reader: Philip F. Gura Reader: Trudier Harris Reader: Jane F. Thrailkill © 2006 Andreá N. Williams ALL RIGHTS RESERVED ii ABSTRACT ANDREÁ N. WILLIAMS: Our Kind of People: Social Status and Class Awareness in Post -Reconstruction African American Fiction (Under the dir ection of William L. Andrews) Postbellum African American fiction provides an index to the complex attitudes toward social status and class divisions that arose within post -Civil War black communities. As I argue, African American narratives in the last quarter of the nineteenth century encode the discourse of class in discussions of respectability, labor, and discrimination. Conceiving of class as a concept that does not necessarily denote economic conditions, both well -known and largely ignored narrativ es of the period emphasize moral and ideological parameters for judging social distinctions. Writers theorize whether intraracial class stratification thwarts black sociopolitical advancement, fracturing black communities from within, or conversely, foster s racial uplift led by the black “better class.” Though the fiction variably delineates social classes, each of the texts under study in Our Kind of People imagines classification as an inevitable and useful means of reforming the turn -of-the-century Ameri can social order. Subverting the class disparity spurred by Gilded Age materialism, Frances E. -
Network Aesthetics
Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor ___________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor __________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Patrick Jagoda 2010 Abstract Following World War II, the network emerged as both a major material structure and one of the most ubiquitous metaphors of the globalizing world. Over subsequent decades, scientists and social scientists increasingly applied the language of interconnection to such diverse collective forms as computer webs, terrorist networks, economic systems, and disease ecologies. The prehistory of network discourse can be -
The Morehead Family of North Carolina and Virginia
Digitized by the Internet Archive in 2011 with funding from State Library of North Carolina http://www.archive.org/details/moreheadfamilyofOOmore THIS COPY IS NUMBER OF AN EDITION OF FIFTY COPIES PRINTED IN FEBRUARY, NINETEEN HUNDRED AND TWENTY-ONE AND IS PRESENTED TO <f^ tatc £lbraru ,6valclgk,?l . C. THE MOREHEAD FAMILY ; RaleigM 1 1 ;, fHE U ii/ FAMILY GOVERNOR JOHN MOTLEY MOREHEAD , ^VHNMO 1796-1866HEHEAD Portrait by William Garl Broiine, 1S59 IVATfeLY PRINTf NEWYOEF- 1921 ! L ±J G J: ..•i,\\iVn yd Library Worth Carolina State Raleigh THE MOREHEAD FAMILY OF NORTH CAROLINA AND VIRGINIA JOHN MOTLEY MOREHEAD (III) '/ ', PRIVATELY PRINTED NEW YORK 1921 an CopjTight, 1921, by John Motley Morehead (HI) CONTENTS CHAPTER ' PAGE I The Moreheads of England, Scotland and Ireland . 3 II David jNIorehead of London 24 III The Moreheads of the Northern Neck, Virginia . 32 IV The Moreheads of the Northern Piedmont Region 37 V The Moreheads of the South Piedmont Region, Virginia 44 VI The Moreheads of North Carolina 51 VII The Lindsay Family 94 VIII The Harper Family 99 IX The Motley Family 102 X The Forrest Family 106 XI The Ellington Family 107 XII The Norman Family 108 XIII The Gray Family Ill XIV The Connally Family 115 XV The Graves Family 118 XVI The Lathrop Family 124 The Turner Family (See Chapter IV) 37 The Williams Family (See Chapter XIV) . .115 The Lanier Family (See Chapter XIV) .... 115 The Kerr Family (See Chapter XV) 118 r '^' ^ A 7 (.. ?:• 'J- k s ILLUSTRATIONS PAGE Coat of Arms of the Morehead Family .... Facing page lu Governor John Motley Morehead Frontispiece Mrs. -
A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012)
Copyright by Taehyun Cho 2014 The Thesis Committee for Taehyun Cho Certifies that this is the approved version of the following thesis: A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) APPROVED BY SUPERVISING COMMITTEE: Supervisor: Charles R. Berg Thomas G. Schatz A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) by Taehyun Cho, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication To my family who teaches me love. Acknowledgements I would like to give special thanks to my advisor, Professor Berg, for his intellectual guidance and warm support throughout my graduate years. I am also grateful to my thesis committee, Professor Schatz, for providing professional insights as a scholar to advance my work. v Abstract A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989-2012) Taehyun Cho, M.A. The University of Texas at Austin, 2014 Supervisor: Charles R. Berg Although many scholars attempted to define and categorize alternative narratives, a new trend in narrative that has proliferated at the turn of the 21st century, there is no consensus. To understand recent alternative narrative films more comprehensively, another approach using a new perspective may be required. This study used hypertextuality as a new criterion to examine the strategies of alternative narratives, as well as the hypernarrative structure and characteristics in alternative narratives. Using the six types of linkage patterns (linear, hierarchy, hypercube, directed acyclic graph, clumped, and arbitrary links), this study analyzed six recent American fiction films (between 1989 and 2012) that best represent each linkage pattern. -
Clemson Commencement Program, May 1974 Clemson University
Clemson University TigerPrints Clemson Commencement Programs Academic Affairs 5-1-1974 Clemson Commencement Program, May 1974 Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/comm_programs Materials in this collection may be protected by copyright law (Title 17, U.S. code). Use of these materials beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. For additional rights information, please contact Kirstin O'Keefe (kokeefe [at] clemson [dot] edu) For additional information about the collections, please contact the Special Collections and Archives by phone at 864.656.3031 or via email at cuscl [at] clemson [dot] edu Recommended Citation University, Clemson, "Clemson Commencement Program, May 1974" (1974). Clemson Commencement Programs. 191. https://tigerprints.clemson.edu/comm_programs/191 This Article is brought to you for free and open access by the Academic Affairs at TigerPrints. It has been accepted for inclusion in Clemson Commencement Programs by an authorized administrator of TigerPrints. For more information, please contact [email protected]. CLEMSON UNIVERSITY Seventy-eighth Commencement May 10, 1974 Clemson, South Carolina Graduation Friday, May 10, 1974 11:15 a. m. Littlejohn Coliseum Order of Ceremonies (Audience will please stand as faculty and candidates march in and remain standing for the Invocation) Invocation The Reverend Thomas Murphy, C.S.P. Pastor, St. Andrews Catholic Church Clemson, South Carolina Conferring of Degrees and Delivery of Diplomas President Robert C. Edwards Benediction Music by Clemson University Concert Band Dr. John H. Butler, Director The University Regalia The University mace is the symbolic representation of the whole of Clemson University and must be present at any convocation where the University, through its delegated members, is acting officially. -
Turbo Film As Artistic Apparatus and As Manifesto for the Uncertain Future of Moving Images
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Turbo Film As Artistic Apparatus And As Manifesto For The Uncertain Future Of Moving Images Barbieri Marchi, Paololuca http://hdl.handle.net/10026.1/11958 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Turbo Film As Artistic Apparatus And As Manifesto For The Uncertain Future Of Moving Images by Paololuca Barbieri Marchi A thesis submitted to the University of Plymouth in partial fulfilment for the degree of: DOCTOR OF PHILOSOPHY School of Art, Design and Architecture June 2016 2 Copyright statement: This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. 3 Acknowledgements My supervisors’ unfaltering supports, as well as the constant dialogue and interdisciplinary exchange with fellow researchers, has been invaluable to the development of my research. My deep thanks go first to Antonio Caronia, my direct supervisor for most of the research. Semiotician, film theorist, mathematician, and radical indefatigable political activist, who passed away last year, leaving behind both a great void and the exceptional memories from his inspiring lectures and research contributions. -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
Network Aesthetics
Network Aesthetics Network Aesthetics Patrick Jagoda The University of Chicago Press Chicago and London Patrick Jagoda is assistant professor of English at the University of Chicago and a coeditor of Critical Inquiry. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by The University of Chicago All rights reserved. Published 2016. Printed in the United States of America 25 24 23 22 21 20 19 18 17 16 1 2 3 4 5 ISBN- 13: 978- 0- 226- 34648- 9 (cloth) ISBN- 13: 978- 0- 226- 34651- 9 (paper) ISBN- 13: 978- 0- 226- 34665- 6 (e- book) DOI: 10.7208/chicago/9780226346656.001.0001 The University of Chicago Press gratefully acknowledges the generous support of the Division of the Humanities at the University of Chicago toward the publication of this book. Library of Congress Cataloging-in-Publication Data Jagoda, Patrick, author. Network aesthetics / Patrick Jagoda. pages cm Includes bibliographical references and index. ISBN 978- 0- 226- 34648- 9 (cloth : alkaline paper) ISBN 978- 0- 226- 34651- 9 (paperback : alkaline paper) ISBN 978- 0- 226- 34665- 6 (e- book) 1. Arts—Philosophy. 2. Aesthetics. 3. Cognitive science. I. Title. BH39.J34 2016 302.23'1—dc23 2015035274 ♾ This paper meets the requirements of ANSI/NISO Z39.48- 1992 (Permanence of Paper). This book is dedicated to an assemblage of friends—including the late-night conversational, the lifelong, and the social media varieties— to whom I am grateful for inspiration and discussion, collaboration and argument, shared meals and intellectual support. Whenever I undertake the difficult task of thinking through and beyond network form, I constellate you in my imagination. -
The Nineteenth Amendment and the Democratization of the Family Reva B
THE YALE LAW JOURNAL FORUM JANUARY 20, 2020 The Nineteenth Amendment and the Democratization of the Family Reva B. Siegel abstract. This Essay recovers debates over the family connecting the Reconstruction Amendments and the Nineteenth Amendment, and considers how this lost history can guide the Constitution’s interpretation, in courts and in politics. A woman’s claim to vote contested a man’s prerogative to represent his wife and daughters, and so was a claim for democratization of the family. Suffragists argued that women needed the vote to change the ways that law structuring the family governed their lives. They argued that law should recognize women’s right to voluntary motherhood and to be remunerated equally with men for work performed inside and outside the household. Suffragists sought to create a world in which adult members of the household could be recognized and participate in democratic life as equals. And they debated how to realize these goals when women faced different and intersectional forms of discrimination. Claims for democratic reconstruction of the family that began in the quest for 450 the nineteenth amendment and the democratization of the family the vote continued in the immediate aftermath of the Nineteenth Amendment’s ratification and in 1970 during its half-century anniversary, and continue today in the era of its centennial. Courts can draw on this history and interpret the Amendments synthetically. For example, judges can integrate the history of suffrage struggle into the equal-protection framework of United States v. Virginia. The Essay shows how an historical and intersectional understanding of suffrage struggle could change the way courts approach cases concerning the regulation of pregnancy, con- traception, sexual violence, and federalism. -
Selected Press and Texts
JACKY CONNOLLY BY FIONA ALISON DUNCAN THE GRASS IS ALWAYS GREENER For years I’ve been trying to come up with They’re so oppressive, it’s banal to complain. a way to describe the metallic ting of human voices on Skype. Not when we go robotic, this oceanic, and while you may learn to forget them, glitch is subtler. It sounds like chewing on alu- I guarantee: we register their threat regardless. minum foil might for the doer, a hearing that Because attention is more diffuse than a sur- tastes irritating. The sound is similar to one viving mind might have it. It’s why we can have that accompanies many effects in 27-year-old repressed memories, summoned by a smell. Or why, after spending two months in a rural videos, particularly the raking of leaves. cabin, then coming back to Manhattan, I felt the pavement shake from underground as if for the Fawn’s Leap (2015), a young woman with pale skin and dark with it for years. We can take our environments hair rakes autumn leaves in the rain. As the day for granted until we experience difference. Like darkens and the leaves come to be piled horse a computer neck crane. We may temporarily high, a young girl—she could be the sister of forget the awkward postures we take, but the the woman, or an adolescently-had daughter, body won’t. If you’re lucky, you’ll ache later. If or the same individual, years prior—plays in not, you won’t even notice that you’re in pain.