Santa Clara University
University of Alberta
Lawrence University
Rhode Island School of Design
University of Washington Tacoma
University of Colorado Boulder
University of Southern California
Vassar College
The End,
2018
University of Southern California
The End, Gabriel Leiner
Gabriel Leiner
Safeguarding For The Future: Managing Born-Digital Collections In Museums,
2017
Seton Hall University
Safeguarding For The Future: Managing Born-Digital Collections In Museums, Kimberly Kruse
Seton Hall University Dissertations and Theses (ETDs)
Over the past few decades, advancements in technology have changed society entirely. Every bit of information about world news, popular culture, and art is just a tap of a touchscreen away. So many aspects of the contemporary world have become digitized so that it was only a matter of time before museums would have to face the issue of born-digital media in their collections. From videos to web-based art, museums have to tackle how to save this new form of cultural heritage. Museums have to do so now before it gets lost forever. The challenge of born-digital objects lies in ...
Open Access In Order To: Make A Midnight Movie,
2017
Front Row Central
Open Access In Order To: Make A Midnight Movie, Martin R. Schneider, Marta Rusek, Frank Taney
Penn Open Access Events
Political Theater is the insightful and funny local podcast that explores connections between pop culture and real-world politics, and they're coming to Open Access Week for a LIVE EPISODE recording. Join your hosts, film critic Martin R. Schneider (Front Row Central) and political essayist Marta Rusek (WHYY Newsworks), for a lesson in the legal quirks and loopholes that have helped create some of the best "so bad it's good" works of cult cinema in history. We'll talk about how transformative fair use allowed the Mystery Science Theater franchise to survive, how Italian copyright laws let one cowboy ...
Character Creation: Gamification And Identity,
2017
University of Montevallo
Character Creation: Gamification And Identity, Cathlena Martin, Benton Tyler
Teaching Media Quarterly
No abstract provided.
Twine As Alternative Media: Video Games, The Culture Industry And Social Change,
2017
Brigham Young University
Twine As Alternative Media: Video Games, The Culture Industry And Social Change, Benjamin Thevenin
Teaching Media Quarterly
No abstract provided.
Understanding Procedural Rhetoric,
2017
Florida State University
Understanding Procedural Rhetoric, Jason E. Custer
Teaching Media Quarterly
No abstract provided.
Teaching About (And With) Digital Games: Editor's Introduction,
2017
University of Minnesota, Twin Cities
Teaching About (And With) Digital Games: Editor's Introduction, Allyson Shaffer
Teaching Media Quarterly
No abstract provided.
The Dod's Cultural Policy: Militarizing The Cultural Industries,
2017
University of Ontario Institute of Technology
The Dod's Cultural Policy: Militarizing The Cultural Industries, Tanner Mirrlees
communication +1
In pursuit of this Special Issue’s goal to “push the traditional boundaries of cultural policy studies,” this article conceptualizes the US Department of Defense (DoD) as a cultural policy agency. All cultural policy is goal-oriented and aims to act within and have effects upon “the cultural.” Cultural policy scholars examine how State agencies, policies, and regulations act upon to influence: the cultural industries; cultural texts; and, national identities and citizen-subjects. Although the US Federal government has no official cultural policy agency like Canada (the Department of Heritage) or France (the Ministry of Culture), this article conceptualizes the DoD—one ...
All In - And More! Gambling In The James Bond Films,
2017
University of Tampere
All In - And More! Gambling In The James Bond Films, Pauliina Raento
UNLV Gaming Research & Review Journal
Scholarly analysis of gambling in the James Bond films is rare, despite the multitude of topics in Bondology and the fictional agent’s global fame. The odd commentary in gambling scholarship criticizes the franchise from the perspective of harm prevention. This article counters both groups of scholars with a qualitative interpretation of Bond’s gambling habits and the role of gambling and risk taking in the film series. A basic toolkit of visual methodologies is applied to the 24 EON-produced Bond films released in 1962–2015. The examination shows the critical importance of gambling to character identity, power hierarchies and ...
Cinematographic Resources As Meaningful Affordances In A Foreign Language Class,
2017
University at Albany, State University of New York
Cinematographic Resources As Meaningful Affordances In A Foreign Language Class, Denise Osborne
Views from Below: The Underdog in Contemporary Latin American and Spanish Film
Cinematographic resources as meaningful affordances in a foreign language class.” In this presentation, Osborne will discuss a proposal for use of films as works of art in foreign languages classes. She will show how cinematographic features (e.g., sound, color, lighting, camera angles, mise-en-scène) and their implication for film narrative − rarely emphasized in foreign language classrooms − can be a powerful tool to engage students in a dialogical and ecological construction of knowledge. Consideration of cinematographic features in scenes from the Brazilian Portuguese films Abril Despedaçado (Cohn & Salles, 2001) and Raízes e Asas (Cabral & Pimenta, 2011), and how these features can ...
Scapegoating In The Films By Alejando Fernández Almendras,
2017
University at Albany, State University of New York
Scapegoating In The Films By Alejando Fernández Almendras, Ilka Kressner
Views from Below: The Underdog in Contemporary Latin American and Spanish Film
Chilean filmmaker Fernández Almendras has examined the processes of victimization of the “poor man” in several of his feature films, most prominently Matar a un hombre [To Kill a Man] (2014, Winner of the World Cinema Grand Jury Price at Sundance Festival) and Aquí no ha pasado nada [Much Ado About Nothing] (2016). Both works exemplify processes of victimization through verbal performative acts: words in the form of humiliations, menaces and blackmail become the fatal weapons of scapegoating.
Forensic Linguist Tej Bhatia On The Hunt For The Unabomber,
2017
Syracuse University
Forensic Linguist Tej Bhatia On The Hunt For The Unabomber, Tej K. Bhatia
Languages, Literatures, and Linguistics
From article: [Editor’s note: Discovery Channel’s new 8-part series MANHUNT: UNABOMBER is about the FBI investigator Jim Fitzgerald who identified the Unabomber as Ted Kaczynski based on his writings–pioneering the use of what is now called forensic linguistics. The series stars Sam Worthington and Paul Bettany, and also features Chris Noth, Elizabeth Reaser, and Brian F. O’Byrne. Science & Film commissioned Syracuse University linguistics professor Dr. Tej Bhatia to write about the case. The series is available via Netflix and Amazon.]
Practicing Critical Research: Applying A Feminist Textual Analysis To The Film 300,
2017
James Madison University
Practicing Critical Research: Applying A Feminist Textual Analysis To The Film 300, Tatjana M. Hocke-Mirzashvili, Stephanie Kelly, Darrel Blair, Hoyoung (Anthony) Ahn
Discourse: The Journal of the SCASD
This single-class activity was developed to give students hands-on experience with critical research. The purpose of this activity is to assist students in developing critical, textual analysis skills by applying a feminist lens to the hyper-masculine film 300, specifically analyzing symbolic representations of power.
Waru,
2017
University of Toronto
Waru, Ken Derry
Journal of Religion & Film
This is a film review of Waru (2017), directed by Briar Grace-Smith, Ainsley Gardiner, Renae Maihi, Casey Kaa, Awanui Simich-Pene, Chelsea Cohen, Katie Wolfe, and Paula Jones.
Revenge,
2017
York University
Revenge, Tony Michael
Journal of Religion & Film
This is a film review of Revenge (2017), directed by Coralie Fargeat.
“Those Who Don’T Remember Don’T Exist Anywhere:” Historical Redemption In Patricio Guzmán’S Nostalgia For The Light (2010),
2017
University of Florida
“Those Who Don’T Remember Don’T Exist Anywhere:” Historical Redemption In Patricio Guzmán’S Nostalgia For The Light (2010), Cristina Ruiz-Poveda Vera
Journal of Religion & Film
The poetic aesthetic of Patricio Guzman’s documentary Nostalgia for the Light (2010) ponders the nature of memory and history. The film uses a metaphysical approach to explore the traumatic past of Chile, creating a sense of historical redemption as defined by Walter Benjamin (1940). Contemporary Latin American documentaries have abandoned the idea of objectivity to focus on subjective portrayals of memory as a way to capture the plurality of personal experiences of historical events. As a result, these documentaries have become more artistic and formally innovative than the previous epic informative films of the region. In the case of ...
Scorsese’S Silence: Film As Practical Theodicy,
2017
Gordon College - Wenham
Scorsese’S Silence: Film As Practical Theodicy, Ian Deweese-Boyd
Journal of Religion & Film
Martin Scorsese’s adaptation of Shusaku Endo’s novel Silence takes up the anguished experience of God’s silence in the face of human suffering. The main character, the Jesuit priest Sabastião Rodrigues, finds his faith gutted by the appalling silence of God as he witnesses the horrific persecution of Christians in seventeenth century Japan. Yujin Nagasawa calls the particularly intense combination of the problems of divine hiddenness and evil the problem of divine absence that resists resolution through explanations that have typically characterized the theodicies offered by philosophers. Drawing on the thought of Ignatius of Loyola, this essay explores ...
Now That Was A Nice Hanging: The Hateful Eight As Parable?,
2017
Methodist University, Fayetteville, NC
Now That Was A Nice Hanging: The Hateful Eight As Parable?, Richard G. Walsh
Journal of Religion & Film
The opening of Quentin Tarantino’s The Hateful Eight conjoins the iconic landscape of the Western, Christianity’s chief symbol the crucifix, and Tarantino’s oeuvre. The film gives the crucifix so much screen time that one wonders what its significance might be. That the film climaxes with the lynching of Daisy Domergue renders the crucifix teasingly parabolic. The opening-closing frame parallels the two hangings, as do the various eulogies associated with the lynching. That Daisy’s lynching takes place at the hands of the film’s two surviving characters—who, like the horses that lead the stagecoach team delivering ...
Still Banned After All These Years- Retracing The Journey Of Cavani’S ‘Revolutionary’ Galileo (1968).,
2017
University of Westminster, London
Still Banned After All These Years- Retracing The Journey Of Cavani’S ‘Revolutionary’ Galileo (1968)., Silvia Angeli
Journal of Religion & Film
“Revolutionary” and “scandalous” are adjectives the late Ettore Bernabei, General Director of Italian State Television (RAI) from 1961 to 1974, used to describe Liliana Cavani’s Galileo (1968) in a 2005 interview for Corriere della Sera. Such harsh judgment reflects the undiminished hostility of a significant branch of Italian Catholicism toward the film. The fact that almost 50 years after its release Galileo has yet to be broadcast on public television despite being commissioned by it unequivocally confirms this hostility. Based on primary sources such as press articles and archival sources, this article chronicles Galileo’s incredible journey through ...
A Fight Over Souls: Documentary Films On The Rwandan Genocide With A Christian Theme,
2017
Linnaeus University
A Fight Over Souls: Documentary Films On The Rwandan Genocide With A Christian Theme, Tommy Gustafsson
Journal of Religion & Film
The 1994 genocide against the Tutsis in Rwanda have spawned over 150 feature films and feature-length documentaries, making it into the second most audio-visually recreated genocide after the Holocaust. Within this large body of historical films a subgenre have emerged with a distinctive Christian theme. This article explores these Christian themed documentary films about the Rwandan genocide and positions them within a film historical perspective as well as analyzes and contextualizes them as a subgenre of films about the Rwandan genocide within films about genocide in general. Of note are how memory and historiography are used, and the links between ...
