Empathy And Community In The Age Of Refugees: Petzold’S Radical Translation Of Seghers’ Transit,
2020
West Chester University of Pennsylvania
Empathy And Community In The Age Of Refugees: Petzold’S Radical Translation Of Seghers’ Transit, Margarete Landwehr
Languages & Cultures Faculty Publications
Petzold’s film constitutes a radical translation of Seghers’ novel by transforming her tale of political refugees in Vichy France into an existential allegory depicting the fluidity of identities and relationships in a globalized world. The transitory existence of Petzold’s war refugee serves as an extreme example of the instability of modern life, which allows spectators to identify and empathize with migrants’ unpredictable journeys. Moreover, the director conveys the universality of his protagonist’s story by portraying him as an Everyman bereft of distinctive personality traits, by intermingling the past (Seghers’ plot) with the present (contemporary settings), and by situating his experiences …
Between The Lines: Reflexive Misogyny And Remediated Forms In A Secret Online Group Of Women Poets,
2020
Missouri State University
Between The Lines: Reflexive Misogyny And Remediated Forms In A Secret Online Group Of Women Poets, Rae Elizabeth Snobl
Graduate Theses/Dissertations
This thesis examines an online, secret writing community for 1,800+ women-only poets called “The Retreat.” Analysis of two years of Facebook posts and interviews with group members revealed a noticeable membership split between those publishing through conventional literary venues, the “traditional poets,” and social media poets. These “Instapoets,” as labeled by popular media each had between 10,000 to 125,000+ followers on sites like Instagram and Facebook—significant numbers when seen in the context of readership and monetizing. Yet, their digital, snippet poems did not hold to the literary norms of poetry, both in form and publishing method. This led to a …
Visualizing A Post-Apocalypse: Notes On New Ayoreo Cinema,
2020
University of Oklahoma
Visualizing A Post-Apocalypse: Notes On New Ayoreo Cinema, Lucas Bessire, Bernard Belisário
Tipití: Journal of the Society for the Anthropology of Lowland South America
This essay describes one recent Ayoreo film and its production in order to reflect on the wider significance of lowland South American Indigenous cinema and analyses of it today. Informed by the authors’ roles in the collaborative editing of the film Ujirei, the article details how one Ayoreo filmmaker cinematically visualizes a unique aesthetic response to the aftermath of pandemic upheavals and world-ending violence – a response that pointedly exceeds any prescriptive or structuralist approach to lowland Indigenous cinema. In order to better grasp the subjective, conceptual and political implications of this project, the essay aims to craft an analytic …
Justifying Force: Police Procedurals And The Normalization Of Violence,
2020
Arcadia University
Justifying Force: Police Procedurals And The Normalization Of Violence, Emily Brenner
Faculty Curated Undergraduate Works
Much like the CSI effect in forensic crime dramas, portrayals of law enforcement in crime media can potentially skew a viewer’s perception of what the profession actually entails. Many studies address the depiction of law enforcement in the media, but few solely examine the use of force by television police officers, and the impact this may have on frequent viewers. In an era of calls for accountability over growing attention towards police brutality and misconduct, the media as an influencer has the potential to play a role in how real-world instances of brutality are perceived, and more importantly, how it …
An Experiential Analysis Of Job Site Safety: Delineating Between Positive Safety Culture And Excessive Safety,
2020
Indiana State University
An Experiential Analysis Of Job Site Safety: Delineating Between Positive Safety Culture And Excessive Safety, Steven Tighe
All-Inclusive List of Electronic Theses and Dissertations
In general industry and in construction many safety requirements are mandated on job sites and in facilities. Many requirements move past simple compliance and enter the realm of cultural safety. This high level of cultural safety is what is typically the level most safety professionals strive for in any company. The balance is tipped to excessive when we move past the cultural safety into redundant or multi layers of requirements that affect production rates and have no actual value to safety but have the appearance of safety. This research looked into a large construction project that had multiple layers of …
The Media Industry In Oregon: Incentive And Impact Analysis 2020 Update,
2020
Portland State University
The Media Industry In Oregon: Incentive And Impact Analysis 2020 Update, Emma Brophy, Peter Hulseman, Northwest Economic Research Center
Northwest Economic Research Center Publications and Reports
Oregon’s media industries have become increasingly well-known over the last several years, thanks in large part to successful feature length films and television series produced in the state. It is widely known that such productions offer visibility, tourism interest, and a boost to local merchants during their visits. More economically important, but less immediately obvious, are the impacts of a home grown industry of professionals and businesses that thrive in regions able to maintain a reliable stream of production activity. Numerous states now offer incentives to visiting media productions, some focused on big-ticket features and visiting series. In Oregon, the …
Playing With Noise: Anne Elliot, The Narrator, And Sound In Jane Austen's And Adrian Shergold's Persuasion,
2020
Georgia College & State University
Playing With Noise: Anne Elliot, The Narrator, And Sound In Jane Austen's And Adrian Shergold's Persuasion, Brianna R. Phillips
The Corinthian
This paper pushes against the critical tradition that views silence or listening in relation to passivity and powerlessness by exploring the role of noise in Jane Austen’s Persuasion and in Adrian Shergold’s experimental 2007 film adaptation of that novel and how sound relates to Anne Elliot’s emotional legibility. Austen fills the narrative landscape with sounds that are filtered almost exclusively through Anne so that even when she is silent, she is “making noise” through her focalizations and through free indirect narration. Both Austen and Shergold align noise with Anne’s emotions such that Anne’s sensorial responses to shocking, loud, and disruptive …
Late Postmodernism,
2020
University of Illinois in Chicago
Late Postmodernism, Nicholas Brown
CLCWeb: Comparative Literature and Culture
No abstract provided.
Sedimented Forms: Coming Back To Autonomy,
2020
Goldsmiths, University of London
Sedimented Forms: Coming Back To Autonomy, Marina Vishmidt
CLCWeb: Comparative Literature and Culture
No abstract provided.
The Minimal Politics Of Autonomy,
2020
University of Warwick
The Minimal Politics Of Autonomy, Myka Tucker-Abramson
CLCWeb: Comparative Literature and Culture
No abstract provided.
Immanuel Kant’S Manifesto For Dad Rock,
2020
Williams College
Immanuel Kant’S Manifesto For Dad Rock, Christian Thorne
CLCWeb: Comparative Literature and Culture
No abstract provided.
Genre’S Autonomy, Autonomy’S Genre,
2020
Goethe University, Frankfurt
Genre’S Autonomy, Autonomy’S Genre, Tim Lanzendörfer
CLCWeb: Comparative Literature and Culture
No abstract provided.
Admiring Autonomy,
2020
State University of Campinas (Unicamp)
Admiring Autonomy, Fabio Akcelrud Durão
CLCWeb: Comparative Literature and Culture
No abstract provided.
When ‘Interplay Is The Content Of The Work’—A Response To Nicholas Brown’S Autonomy,
2020
University of Illinois in Chicago
When ‘Interplay Is The Content Of The Work’—A Response To Nicholas Brown’S Autonomy, Elise Archias
CLCWeb: Comparative Literature and Culture
No abstract provided.
Aesthetics Today,
2020
Duke Univeristy
Aesthetics Today, Fredric Jameson
CLCWeb: Comparative Literature and Culture
No abstract provided.
Neorrealismo Y Cine En Cuba: Historia Y Discurso En Torno A La Primera Polémica De La Revolución, 1951–1962,
2020
Spelman College
Neorrealismo Y Cine En Cuba: Historia Y Discurso En Torno A La Primera Polémica De La Revolución, 1951–1962, Anastasia Valecce
Purdue Studies in Romance Literatures
Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951-1962 examina la historia estética y las relaciones entre la producción cinematográfica cubana y el neorrealismo italiano. El recorrido histórico comienza en 1951, antes del triunfo de la Revolución, y termina en 1962, año que marca la ruptura entre los cineastas cubanos y la estética neorrealista italiana. Las colaboraciones principales sucedieron entre los directores de cine Tomás Gutiérrez Alea y Julio García Espinosa y el cineasta neorrealista italiano Cesare Zavattini. Las circunstancias que llevaron al fin de las relaciones entre Zavattini y los cineastas …
Mapping Flat, Deep, And Slow: On The 'Spirit Of Place' In New Cinema History,
2020
University of New Hampshire - Manchester
Mapping Flat, Deep, And Slow: On The 'Spirit Of Place' In New Cinema History, Jeffrey Klenotic
Faculty Publications
This essay engages in a creative, heuristic, and reflexive consideration of the ‘localities’ of cinema audiences by exploring New Cinema History as a place. New Cinema History is conceptualised as a place continually produced in and through its interactions with the heterogeneous multiplicities of situated audiences and experiences of cinema that form the topoi of its landscape of inquiry. In reflecting on how this placialised landscape has been and might be represented, I argue that New Cinema History’s ‘spirit of place’ is most productive when rendered within a ‘splatial’ framework that draws upon practices of flat, deep, and slow mapping …
The Jewish Vamp Of Berlin: Actress Maria Orska, Typecasting, And Jewish Women,
2020
Gettysburg College
The Jewish Vamp Of Berlin: Actress Maria Orska, Typecasting, And Jewish Women, Kerry Wallach
German Studies Faculty Publications
“Maria Orska, she is simply the actual embodiment of the human beast.... here, again, she is the man-beguiling Lulu, so vivid in her performance that one can almost hear her words.” With these lines in his review of Die Bestie im Menschen (1920/21), critic Fritz Olimsky describes Orska as she was widely regarded: a femme fatale Lulu or vamp type known for her tragic, expressive performances, who was often cast in psychologically complex roles involving dramatic love affairs. Orska, like her Hollywood contemporary Theda Bara, rarely moved beyond her reputation for playing this type of character. In addition to exploring …
Visual Weimar: The Iconography Of Social And Political Identities,
2020
Gettysburg College
Visual Weimar: The Iconography Of Social And Political Identities, Kerry Wallach
German Studies Faculty Publications
In the Weimar Republic, images were perceived to be as unreliable as they were powerful. They helped create and codify difference while simultaneously blurring lines within the categories of gender and race. Visual culture provided a wild playground for discourses about gender presentation and sexuality that encompassed veterans, athletes, criminals, the New Woman, and androgynous figures. Despite the growing prominence of images in race science, it was widely held that images could not be trusted to convey accurate information about race. The propagandistic use of images for political purposes had the potential to be equally ambiguous. It was ultimately up …
Neorrealismo Y Cine En Cuba: Historia Y Discurso Entorno A La Primera Polémica De La Revolución, 1951–1962,
2020
Purdue University
Neorrealismo Y Cine En Cuba: Historia Y Discurso Entorno A La Primera Polémica De La Revolución, 1951–1962, Anastasia Valecce
Purdue University Press Book Previews
Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951–1962 [Neorealism and Cinema in Cuba: History and Discourse on the First Polemic of the Revolution, 1951–1962] examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic. The main collaborations happened between Cuban directors Tomás Gutiérrez Alea and Julio García Espinosa and Italian neorealist filmmaker Cesare Zavattini. The circumstances that …
