883 Slices
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Medium 9780253010971

9 - Retracing the Local: Amateur Cine Culture and Oral Histories

Julia Hallam Indiana University Press ePub

RYAN SHAND

Oral history and moving images have considerable potential synergy.

While amateur films/footage of landscapes and sociocultural practices often account for the majority of regional film collections, accompanying materials such as scrapbooks and interview transcripts can take up more physical space than an archive can reasonably be expected to store in the long term. As a result, the thought processes behind the making of these productions can be difficult to discern for the visiting scholar who does not have the local knowledge required to assess the significance of the films. This problem is compounded by the lack of synchronized sound in many amateur cine productions, meaning that they have now effectively become silent films even if an accompanying soundtrack once existed. In particular, non-fiction films/footage that documented local events, buildings, and spaces are available to view, yet their significance often lies outside the boundaries of the frame.

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Medium 9780861966738

Disney’s full–length animated feature films

Davis, Amy M. John Libbey Publishing ePub

 

The complete list

My subject list

The Classic Period

The Middle Period

The Modern Period

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Medium 9780253021359

5. Oscar Micheaux’s Within Our Gates: The Possibilities for Alternative Visions

Charles Musser Indiana University Press ePub

MICHELE WALLACE

Within the closed world they create, stereotypes can be studied as an idealized definition of the different. The closed world of language, a system of references which creates the illusion of completeness and wholeness, carries and is carried by the need to stereotype.

—Sander Gilman, Difference and Pathology1

The role of stereotypes is to make visible the invisible, so that there is no danger of it creeping up on us unawares; and to make fast, firm and separate what is in reality fluid and much closer to the norm than the dominant value system cares to admit.

—Richard Dyer, The Matter of Images2

The most prominent conceptions of black stereotypes in cinema studies, as conceived by Donald Bogle and Thomas Cripps, define such representations too narrowly—as harmful, reductive, and denigrating.3 Even recent endeavors to revise old approaches, for instance that of Ella Shohat and Robert Stam, do not quite succeed in addressing some of the most problematic issues. Rather, their emphasis is on devaluing stereotype analysis generally as an outmoded and not sufficiently subtle “negative/positive images” criticism.4 If we are to avoid throwing the baby out with the bathwater, we need to follow the deconstructive work of Sander Gilman, Eve Sedgwick, and Richard Dyer and reconceptualize stereotypes or “types” as something of greater importance, ambiguity, and theoretical sophistication.5 Otherwise, distinguishing aesthetic achievement from the presumably deadening influence of stereotypes becomes all but impossible.

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Medium 9780861967025

CONCLUSION

Loiperdinger, Martin John Libbey Publishing ePub
Medium 9780253010643

2 “Have You Talent?”: Norman’s Early Career

Barbara Tepa Lupack Indiana University Press ePub

Richard Edward Norman JR. was born on July 13, 1891, in Middleburg, Florida, a small rural town outside of Jacksonville. The oldest child of Richard Edward Norman Sr. (1855–1942), a pharmacist who owned his own store, and Katherine (Kate) Kennedy Bruce Norman (1861–1939), he had two brothers—Earl Redding Norman, who volunteered and served with the Royal Canadian Forces during World War I and who later drowned at a Florida beach, and Kenneth Bruce Norman, who became a partner with Richard in the film production business before leaving to pursue other interests.1 After high school, Richard attended Massey Business School in Jacksonville, where he honed a number of the skills that would serve him well throughout his career.

According to his family, Richard was an industrious young man. As a teenager he began working at a local Jacksonville theater, where he often entertained audiences by playing the piano, possibly providing musical accompaniment to some of the early silent pictures screened there. After his parents separated in 1910, Richard and his brothers moved with their mother to Kansas City, Kansas, to be closer to her relatives. In Kansas City and later in Chicago (where he met and married his first wife, Ethel), Richard found employment with several film companies and also pursued some of his own entrepreneurial ambitions.

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Medium 9780861966820

The Bump in the Road

Beardmore, Marie John Libbey Publishing ePub

 

John’s working life was humming along fine; not only were his films garnering awards but so was he. In 1993 Theresa Plummer-Andrews presented him with a BBC Lifetime Achievement Award, which John refers to as his “old age” award. Theresa, still then head of BBC Children’s Acquisitions, Co-productions, gave a small speech to mark the occasion. “He’s made a few films here and there, but mostly, he’s known as the man who put the L into lunch!” No one in the industry, and plenty outside of it, could argue with that!

While his professional life continued to zing along, things were not so great personally and, inevitably, John and Chris hit a bit of a sticky patch. During this period, he met a few nice ladies who he fondly remembers. In the September of 1993, while making the Beatrix Potter films, John attended the Cartoon Forum in Inverness. There, he reconnected with a young woman he had met some years previously at an animation seminar in Switzerland. He recalls back then being in a strange 1930s hotel at the Lake of Neuchatel where there was an extraordinary good-looking girl at the bar every evening. “I remember at the last evening I asked who she was. Anyway, a year or two later on my way to the Cartoon Forum at Inverness, I was enjoying a gin and tonic before catching the plane at Terminal 1, Heathrow. I was sitting at the top of a little spiral staircase that went up to the bar, when a fantastically good looking girl came over and kissed me on the cheek and said, you don’t know who I am, do you? And it was her. “We travelled to Inverness together and that was lovely … and then an extraordinary thing happened on my return. There were two planes coming back, one was early so I avoided that, and caught the later one. There was an empty seat beside me and the whole plane went ‘ohhh’ when she came and sat in it! It was the only empty seat. How could she have had the seat reserved and held? I said how on earth did you manage that? She just giggled.” Over time, they became good friends. Eurostar had just begun, and they would meet at the Musée d’Orsay. “I’d take the taxi at the Gare du Nord and then I’d have to find her amongst the animal sculptures outside the Musée.”

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Medium 9780253016966

1937

Colin Crisp Indiana University Press ePub

(Pépé le Moko); remade as Algiers (1938) and Casbah (1948)

France, 1937, 93 min, b&w

Dir Julien Duvivier; Asst dir Robert Vernay; Prod Paris-Films Productions; Scr Henri Jeanson, from the novel by Detective Ashelbé; Cinematog Jules Kruger and Marc Fossard; Music Vincent Scotto and Mohammed Yguerbuchen; Art dir Jacques Krauss; Sound Antoine Archaimbaud; Edit Marguerite Beaugé; Act Jean Gabin (Pépé le Moko), Mireille Balin (Gaby), Lucas Gridoux (Inspector Slimane), Line Noro (Inès), Fernand Charpin (Régis), Saturnin Fabre (Grandfather), Gabriel Gabrio (Carlos), Marcel Dalio (Arbi), Gilbert-Gil (Pierrot), Gaston Modot (Jimmy), Roger Legris (Max), Charles Granval (Maxime), Fréhel (Tania), Olga Lord (Aïcha), and Renée Carl (la mere Tarte).

In these final years of the decade, a mythic persona accreted around the actor Jean Gabin, and Pépé le Moko is a key film in the construction of that persona. Gabin had been acting in films ever since the point when the coming of sound had generated a need for popular singers (his parents were from music-hall and operetta backgrounds, and during the 1920s, he had appeared in revues and operettas, and at the Moulin Rouge with Mistinguett). Until 1934, however, even when he was acting the tough guy, his films had been lightweight entertainment. Then Julien Duvivier took him up, and after playing a somewhat grotesque Pontius Pilate, cast him in roles where he was basically a good bloke who came to unfortunate ends (La Bandera, #42, and La Belle Équipe, #51). Pépé le Moko added to this mix the themes of alienation and exile, together with a more explicit sense of tragic fatality. We discover Pépé as the leader of a gang in the Casbah, safe in the impenetrable labyrinth of alleyways but unable to leave them—protected by the Casbah but also trapped in it. Attempting to escape, he is betrayed, captured, and commits suicide.

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Medium 9780861966592

Chapter II The Cartoon Before Tex

Place-Verghnes, Floriane John Libbey Publishing ePub

Even though the art of animation is often associated with innovation, it has to be said that it finds its roots as early as 1645, when Athanasius Kircher (1601–1690) invented his Magical Lantern (the method of which he described at length in a book entitled Ars Magna Lucis et Umbrae). It consisted of a

mere box in which a mirror and a source of light had been placed ... The light rays – reflected by the mirror – would come out of the box through a small slit, and go through a pane of glass on which an image had been stuck. The image was then screened on a white wall through a magnifying lens.15

Etienne Gaspard Robert – working under the pseudonym Robertson – used the same device almost 150 years later, when he gave a fright to the whole of Paris by screening the heroes of the Revolution in his Fantasmagorie show (1794).

This ancestor of the animated movies was therefore to be one of the longer lasting ones, since what other creators did afterwards was only to improve the original method by implementing it with two major principles of animation: the persistence of vision and the need for gaps between images.

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Medium 9781770906396

5.18 Resident Evil

Crissy Calhoun, Heather Vee ECW Press ePub

Luke: We need your help. We think the Travelers are

about to make their move. Their leader, Markos, is here.

Damon: From where — chant camp?

5.18 Resident Evil

Original air date April 17, 2014

Written by Brian Young and Caroline Dries Directed by Paul Wesley

Edited by Glenn Garland Cinematography by Michael Karasick

Guest cast Cynthia Barrett (Yuppie Mom Traveler), Nick Basta (Deputy Traveler), Nathaniel Buzolic (Kol Mikaelson), Kayla Ewell (Vicki Donovan), Tommy Groth (City Worker Traveler), Jasmine Guy (Grams Bennett), Kenneth Israel (Traveler #1)

Previously on The Vampire Diaries Ian Somerhalder

In the wake of the Traveler leader’s resurrection, Elena and Stefan experience vivid happily-ever-after visions; the Travelers make a bodysnatching move on Mystic Falls.

If there’s one thing we’ve learned from this show over the past five seasons, it’s to never trust a prophecy. The directorial debut of Paul Wesley, this episode not only presents us with the usual complicated TVD reality but it shows us the Other Side in flux and a fantasy life that never was. The opening doppel-vision that Stefan and Elena share, thanks to Markos, takes us on a nostalgic journey to an alternate origin story romance, filled with journaling jokes, flirting, and the same instant spark we saw between these two when they bumped into each other in the high school hallway in the pilot episode. Despite the fact that the real-world romance between Stefan and Elena has been officially over since last season, it was moving to see these two back in love — experiencing a highlight reel of perfect moments from a perfect relationship in a house that looks just enough like the Gilbert one as to resonate even more. It’s the life that Stefan and Elena never could have had, as Elena puts it. The sequence of fantasies harkens back to that memorable speech in “The Last Day” when Elena mourned the human life she would never have if she became a vampire. Here in flashbacks and echoes, Stefan and Elena experience hyper-real visions meant to draw them together, and it’s no surprise that both are teary-eyed when the visions are torn away from them, though they understand that the feelings and experiences were not real. In a standout scene in the episode, the two sit fireside and reflect on what they did have, what was real, from a peaceful place of friendship — miles away from where Damon and Elena are now.

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Medium 9780253006790

13 The Production of the Past

Stephen M. Norris Indiana University Press ePub

Sergei Gurevich, a producer at Nikita Mikhalkov’s Studio Tri-te, explained in 2008 the appearance of patriotic productions in the following way:

We were all close to collapse—the film industry and the television industry. For a while our film Barber of Siberia stood alone against 1990s culture. Then the Russian television audience got fed up with Latin American soaps and other foreign productions. People didn’t mind watching foreign films on TV in general, but Mexican passion every day only goes so far. Thanks to the leaders of our television networks—Konstantin Ernst first and foremost—investment began on domestic productions, on things that happen here in Russia. Studio Tri-te got involved right away, first with The Requested Stop [Ostrovka potrebulia] in 2000, which was produced by Ernst. Television, in other words, started this trend and it quickly became evident that there was an enormous demand for domestic themes. Film followed. Technologies had changed—the newer technologies and demand for domestic productions reinforced each other. The revival did not have much to do with the government. Mostly it was the intuition and good sense of network leaders. Ernst was the key—he loves movies and this love drives him.

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Medium 9780253006486

1 Academic Hot Spots and Blind Spots: Horror Film Studies and Euro Horror Cinema

Ian Olney Indiana University Press ePub

HORROR FILM STUDIES AND EURO HORROR CINEMA

There has been an explosion of interest in horror cinema among film scholars in recent years; in the first decade of the twenty-first century especially, the genre received unprecedented attention in the field of Film Studies. Perhaps the most visible sign of the current scholarly fascination with horror cinema is the record number of books on the subject being published by academic presses in the United States and abroad. Scores of monographs and edited volumes on seemingly every aspect of the genre, from its nature and history to its cultural and ideological dimensions to its notable directors and producers to its reception and fandom, now crowd the shelves. There is even a growing number of texts on horror cinema geared toward the film student – introductory guidebooks that offer overviews of the genre, as well as critical anthologies that collect the most important and influential essays on the subject – indicating that horror film studies has truly arrived as an area of academic inquiry. While the extraordinary number of books on horror cinema available today may be the most visible sign of scholarly interest in the genre, it is not the only one. Hundreds of articles on the horror film have appeared in a wide range of highly respected academic journals. Many of these journals have devoted entire issues to horror, and at least one – Horror Studies, a periodical published in the United Kingdom – has dedicated itself exclusively to the exploration of the genre. One might also point to the countless papers on horror cinema delivered at conferences sponsored by professional organizations like the Society for Cinema and Media Studies and the Popular Culture and American Culture associations. And this boom in horror film scholarship seems likely to continue for the foreseeable future: according to the Dissertation Abstracts Online database, dozens of doctoral dissertations on horror cinema were submitted at universities all over the world during the first decade of the 2000s, suggesting that a new generation of scholars with a substantial investment in the genre has now entered the field.

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Medium 9780253013873

1 Zombie Psychology

Edward P Comentale Indiana University Press ePub

I wasn’t a sex symbol, I was a sex zombie.

Veronica Lake

Two scenes in Ruben Fleisher’s Zombieland (2009) emblematize key psychical and affective dimensions of much zombie culture, dimensions that are often subordinated in critical discussions to such terms as terror or horror or neglected altogether. At first glance the earlier of these scenes seems almost silly—so much fodder for gifted actors to exploit—and irrelevant both to the film’s narrative and to the larger psychical and affective issues inherent to such recent films as 28 Days Later (2002), Shaun of the Dead (2004), Pontypool (2009), and others. After Tallahassee (Woody Harrelson), zombie exterminator extraordinaire and one of the film’s two protagonists, makes his brash entrance and confronts Columbus (Jesse Eisenberg) on a highway littered with wrecked vehicles, debris, and even the broken fuselage of a downed jet, the pair join forces and make their way down a more rural, uncluttered road. Shortly thereafter, as Columbus recounts in his voice-over narration, Tallahassee reveals his one “weakness” when they stop at a breach in a twisted metal barrier on the roadside, gazing down into a grassy ravine where a Hostess Bakeries truck has veered off the road. Tallahassee announces that he could “use a Twinkie” and begins his descent to the truck, prompting Columbus to recommend a regimen of light calisthenics and stretching as dictated by his self-imposed Rule #18: “Limber up.” Tallahassee rejects the suggestion, reminding his companion that lions don’t “limber up” before taking down a gazelle. When they arrive at the truck, Fleisher trains close-ups on the Hostess name and strands of red hearts that comprise the company’s logo on the side and back of the trailer, which Tallahassee opens excitedly, expecting to find a Twinkie. Instead, a cascade of Hostess Sno Balls falls at his feet. Feverishly searching for a Twinkie, he is both enraged and repulsed by the Sno Balls, shouting, casting them irreverently aside, and stomping them into pulp. By contrast, Columbus opens a package and enjoys eating one, promoting the freshness of its distinctive coconut flavor, which, in turn, motivates Tallahassee’s retort: “I hate coconut—it’s not the taste, it’s the consistency.” The scene ends with Tallahassee vowing to continue his quest for a Twinkie, which he does later when the duo enters Blaine’s Supermarket, and where, after the requisite dispatching of zombies, they meet and are conned by Wichita (Emma Stone) and her sister Little Rock (Abigail Breslin).

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Medium 9780253006462

Chapter 2 Cinematic Arts before the 2001 Broadcasting Services Act: Two Decades of Trying to Build a Nation

Katrina Daly Thompson Indiana University Press ePub

In 1980 a newly independent Zimbabwe found itself with an inherited cinematic culture dominated by white producers and mostly aimed at white viewers. Only a handful of domestically produced films and some imported Westerns had been directed to black viewers, and these were often thematized by racism and paternalism. Both film and television were transmitted predominantly through the English language. In the first two decades of independence, Zimbabwe struggled to adapt this inheritance to meet the needs of a multiracial, multicultural, and multilingual society, while balancing the imported and domestic resources available to its cinematic industries. A number of scholars have criticized Zimbabwe’s cinematic arts, and TV broadcasting in particular, for their failure to transform after independence.1 A detailed examination of the goals that the newly independent government set for the cinematic arts in the early 1980s reveals that by 2001 some changes had occurred, but they were extremely uneven. Analysis of archival materials, conversations with filmmakers, and critical commentary by viewers allow us to see how anxiety about Zimbabwe’s colonial history and present-day “cultural imperialism” has structured debates about what it means to represent Zimbabwe.

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Medium 9780253002952

11 “Te Amo, Te Amo, Te Amo”: Lorenzo Antonio and Sparx Performing Nuevo México Music Peter J. García

Aldama, Arturo J. ePub

PETER J. GARCÍA

It’s a hot summer afternoon and I am driving with my mother and my tío or her oldest brother heading west on Interstate 40 entering Albuquerque’s city limits following an intense extended family reunion held over the Fourth of July weekend held in my maternal ancestral village of el Torreon near Manzano, Abó, Chilili, Tajique, Estancia, and Mountainair in Torrance County. These picturesque New Mexican village communities remain hidden byways and represent some of the last bastions of the former Spanish pastoral rancheritos and former Mexican land grants from throughout the Río Abajo. Older Nuevomexicano residents remain rooted here and to the former ways of life that have survived now for centuries in a place twice colonized but which remains home to a unique raza heritage and a rooted, what Alicia Gaspar de Alba calls “alter-Native” Chicana/o culture with a unique New Mexican style in culinary and visual arts, architecture, music, language, and expressive culture. Throughout the entire Río Abajo, Mexicano settlements continue the older way of rural living with milpas, and similar to northern New Mexico and southern Colorado, further picturesque chains of village hamlets situated throughout the Sandía, Sangre de Cristo, Jemez, and Manzano mountain communities are located north, northeast, and directly east of Albuquerque. Many of my maternal family members and close relatives now live in Alburquerque but return often to the maternal village and my grandparents’ terreno for various family gatherings, solemn occasions, and fiestas.

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Medium 9780253018618

Reality Show · Poetry

IU Press Journals Indiana University Press ePub

An editor . . . wrote back that she liked the ‘Negro’ poems best . . . requested that Gwendolyn [Brooks] approach Knopf again when she had more of these.

—AMY SICKELS

News

It is like a love for men, this

Love of language, and we are

Men at war, says the news.

No matter how long we speak

English, English means not

To count us or to count us

Darkly, but I know what

I want and so does channel 4.

They give it to me, one heap

After another: soldiers who,

Following another battle, shed,

Sweat, and spit like fountains.

The Housewives

All dese negroes calln us cute

But aint nobody tryna pay de light bill

Brothas on both coasts sayin Damn you

Sexy But not one payin dis light bill

And here our grinnin ass go after each

Compliment

Lettin de fine ones cop a feel

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