Search results
(such as Facebook, YouTube and Flickr). Addressing humanitarian media culture as it evolved over a period of more than seventy years, the chapters offer a critical assessment of the historical precedents of our contemporary humanitarian communications. The contributors to the book are all specialists in the fields of media and communications, film studies, cultural studies, history or sociology: these different disciplinary
much the same filmmaker that he was at the beginning of his career, when those feelings in him were conditioned by the experiences of the 1960s. As the Snowden project demonstrates, they continue to inform his cinema to the present day, but aesthetics have undoubtedly shifted. By utilising many of the typical forms and functions of film studies, engaging along the way with notable theories, critical discourse, historical analysis and methodology, we seek to show how and why that changing artistic appreciation is essential to understanding not just the second phase of
. Later, he also participated in the Marshall expedition to the Kalahari in 1958. 4 At this stage of his career, Gardner was actively involved in promoting the use of film in anthropology, in both teaching and research, and played a leading role in setting up the Film Study Center in the Peabody Museum of Archaeology and Ethnology at Harvard in 1956. Gardner became the first director of the Center and remained so in its various institutional guises over the next forty years. In the early 1960s, when
( Paris : L’Harmattan , 1999 ); Z . Druick , ‘ The International Educational Cinematograph Institute, reactionary modernism, and the formation of film studies ’, Canadian Journal of Film Studies , 16 : 1 ( 2007 ), 80–97 . 97 Among others
Bernhardt’s acting. (Jay Leyda and Andre Bazin are also critical of her theatricality.) My point is that ‘filmed theatre’ has long been used as a term of critique in film studies. 9 See, for example, Abel, The Ciné Goes to Town , p. 316. See also Barbara Hodgdon, ‘Romancing the Queen’, in The
different world. In Wim Wenders’s Wings of Desire the coming-into-colour signifies the angels’ full immersion in the ‘real’ world of everyday life. So the effect of adjusting from black-and-white films to the new colour cinema must have been something similar. In a context in which reality has been conventionally represented in black and white, the introduction of colour was bound to register a kind of exotic shift. The history of colour cinema and its technologies is a fairly new, and fast expanding, field in film studies, but I haven’t Colour (mainly blue) [ 77
), Paramount’s The Vanishing American (1925) and a Goldwyn production distributed by United Artists, The Winning of Barbara Worth (1926). Despite their popularity and central position in the studios’ production strategies during the mid-1920s, these movies remain underexamined in film studies literature. 3 George Fenin and William Everson, for example, argue that The Pony
Beckett's novels and plays). With this in mind, I ask why Beckett chose the concept of the ‘angle of immunity’ for his exploration of perception and being. We may start by stating that ‘angle of immunity’ is a technical term in neither cinematography nor in film studies. Moreover, to name the threshold at which O's face remains invisible to E, Beckett could have chosen a number of terms other than ‘angle of immunity’, for instance ‘angle of freedom’, ‘angle of amnesty’ or ‘angle of release’. Thus, Beckett's choice calls for comment
work on the logistics, economics, and labour relations of runaway production. A more theoretical approach in film studies has also been preoccupied with ontological and ideological questions of space, place, and location. 46 My approach is informed by both of these directions, harnessing them towards uncovering the functions of race and whiteness in cultural production, infused with the more specific inflections that the horror genre introduces. Following Elena Gorfinkel and John David Rhodes’ call in their collection
have been rather uninterested in the collective and popular art movements of preceding centuries, such as the monumental tradition and historical painting. Another objection has been directed against the dominant interest on the part of art and film studies in avant-garde artists and film directors, who have come to be known as auteurs. Proponents of auteur theory have argued that these moving-image equivalents of art’s solitary geniuses could be extracted from the collective process that filmmaking almost always