Film and Media Studies Commons^™

The Other September 11th: El Mercurio Media Coverage After The Chilean Coup Of 1973, Valeria A. Gurr‐Ovalle

Graduate Research Symposium (2010 - 2017)

This thesis provides an exploratory overview of the role the El Mercurio newspaper played along with the military after the Chilean coup of 1973. The study reviews the contents of the newspaper’s front pages, including their coverage of the events during the coup. The thesis will show how the paper revisited its coverage each year on the September 11th anniversary, beginning with the years dominated by the military government, from 1973 through 1990, and continuing through the transition to democracy, from 1991 through 2007. The primary method used in the course of this examination is a content analysis, which will …

Lawrence Welcomes Authors For Fox Cities Book Festival, Lawrence University

Press Releases

Lawrence University will host visits by three authors and a documentary film screening in conjunction with the 6th annual Fox Cities Book Festival. All events are free and open to the public. Lawrence is one of the sponsors of the book festival.

Writer and neuroscientist Lisa Genova, author of the New York Times’ bestsellers “Love Anthony,” “Still Alice” and “Left Neglected” speaks Friday, April 19 at 6:30 p.m. in Harper Hall. Genova, who writes “about people living with neurological diseases and conditions that are feared, ignored, or misunderstood,” has appeared on Dr. Oz and CNN and was featured in the …

Globalizing "Jesus": Critial Review Of Processes Of Media Globilization In The Production And Global Promotion Of The Film "Jesus", Wilson Mcfarland

Undergraduate Research Conference

To answer the question of how the Jesus film exemplifies media globalization, the author uses a critical review of globalization literature to look at the history of the Jesus film, how the film is an agent of cultural deposition, the technological and cultural influences of the film, the translations of the film, common critiques of the film, and the display of globalization in its production, promotion and use.

An Open Letter To Netflix, Elizabeth A. Rupert

SURGE

If there is one thing that I will be absolutely ashamed in admitting to you, it’s that I love television. Love it. Not in a turn-it-on-watch-whatever-all-TV-rocks kind of way, but in an I’m-overly-obsessed-with-15-shows-at-a-time kind of way, to the point where I could say that being able to watch the latest episode of Suits or Community could easily be the highlight of my day (week, year…). [excerpt]

Bloodspeak Or How The Girl Gew Up With Horror, Mackenzie Weeks '13

Honor Scholar Theses

No abstract provided.

Press €˜A’ To Speak: Videogames As A Storytelling Medium, Brian Banta '13

Honor Scholar Theses

How can we study games? Any attempt will require a scholar to be well versed in multiple methods. In order to adequately analyze and unpack a game we need to consider questions of literary theory, film theory, and play. This introductory section will serve as the foundation for my analysis of three case study games. I will briefly give an overview of my analytical method of choice, ludology, and then explain how it relates to narrative.

Nine-Film Festival Celebrates Latin American, Spanish Cinema, Lawrence University

Press Releases

Presentations by noted South American filmmakers Solveig Hoogesteijn of Venezuela and Raphael Alvarez of Brazil highlight Lawrence University’s second Latin American and Spanish Film Festival April 10-14.

With a theme of music, the festival features nine international films, each shown in Spanish with English subtitles. All nine films, screened in the Warch Campus Center cinema, are free and open to the public.

The Discourses Of Vincent Chase, Eric Wolf

The Review: A Journal of Undergraduate Student Research

In lieu of an abstract, below is the first paragraph of the paper.

There is a common notion that those who make it big, whether it be as a professional athlete, a Grammy award-winning artist, or as an A-list actor, forget where they came from. Fame and fortune go to their heads and they become completely different people than they once were prior to their fame. Though fictional, one could make the argument that Vincent Chase, the protagonist of H.B.O.'s critically acclaimed series Entourage, underwent this drastic shift as the show progressed. One way of analyzing this possible alteration is …

Homeric Heroes In Ethan And Joel Coen's The Hudsucker Proxy (1994), The Big Lebowski (1998) And No Country For Old Men (2007), Vaughan S. Roberts

Journal of Religion & Film

This paper explores how the Homeric trope of the ‘hero’ appears in three films by the writer/directors Ethan and Joel Coen – The Hudsucker Proxy (1994), The Big Lebowski (1998) and No Country for Old Men (2007). It will identify the classical traits of hero and anti-hero, mapping them onto characters in these movies. The paper concludes by examining how the ways in which the Coen brothers' play with the notion of the 'hero' connects with recent thinking on culture and myth in the work of Graham Ward, William A. Dyrness and Robert N. Bellah.

Shinto And Buddhist Metaphors In Departures, Yoshiko Okuyama

Journal of Religion & Film

Cinematic language is rich in examples of religious metaphors. One Japanese film that contains religious “tropes” (figurative language) is the 2008 human drama, Departures. This paper focuses on the analysis of religious metaphors encoded in select film shots, using semiotics as the theoretical framework for film analysis. The specific metaphors discussed in the paper are the Shinto view of death as defilement and Buddhist practices associated with the metaphor of the journey to the afterlife. The purpose of this paper is to augment the previous reviews of Departures by explicating these religious signs hidden in the film.

The Sins Of Leo Mccarey, Richard A. Blake S.J.

Journal of Religion & Film

Leo McCarey has received little attention from film scholars. His sentimentalizing his Catholic background and his preoccupation with anti-Communism obscured the lasting value of much of his work. His concern with sin and forgiveness form a major motif of his works, from the early comedies to his later serious dramas.

Satanic But Not Satan: Signs Of The Devilish In Contemporary Cinema, Adam L. Porter

Journal of Religion & Film

Scholars have paid much attention to identifying and analyzing Jesus and Christ-type characters in film. The parallel cases for Satan and satanic characters have been less studied. Some attention has been paid to examining Satan/Lucifer/the Devil as a character (akin to movies about Jesus), but I could find no systematic typology of satanic traits, that would parallel the well-developed Christ-typologies. This article examines six films to begin the process of describing what makes a character "satanic" without being Satan.

“O Great God!” Humility And Camera Movement In Roberto Rossellini’S The Flowers Of St. Francis, Justin Ponder

Journal of Religion & Film

Roberto Rossellini’s The Flowers of St. Francis (1950) represents the saint’s humility through the director’s humble style. Some claim this becomes most apparent in one scene where reverse-editing creates a compassionate bond between the saint and a leper. Close analysis, however, shows that cinematographic elements link Francis to God more than this counterpart. These elements pair him with a man for whom he feels compassion less than the God to whom he shows obedience. Ultimately, this scene’s humble style suggests the ways in which humility might be based less on compassion for others than obedience to God.

Jest In Time: The Problems And Promises Of The Holy Fool In Francesco, Giullare Di Dio, Ordet, And Ikiru, Peter L. Doebler

Journal of Religion & Film

This paper is a study of Roberto Rossellini’s Francesco, giullare di Dio (The Flowers of St. Francis, 1950), Akira Kurosawa’s Ikiru (1952), and Carl Dreyer’s Ordet (1955) through the theoretical lens of the religious figure of the holy fool. First, I assert that each film employs a foolish character in order to critique the contemporary culture, particularly resisting modern attempts to soften or ignore extreme elements of Christian teaching, such as sacrificial self-giving for others or the hope of bodily resurrection. Second, I argue that the content of a fool character affects the film’s form, creating a subversive …

Spirit(Uality) In The Films Of Terrence Malick, Christopher B. Barnett

Journal of Religion & Film

This paper will argue that Terrence Malick is a theological filmmaker, even though scholars have preferred to emphasize his indebtedness to Martin Heidegger. It will proceed by way of Malick’s use of wind imagery. First, it will show that the wind motif recalls theological notions about God as spirit. Second, it will illustrate how Malick employs wind imagery, revealing a sensitivity to the wind’s evocation of God’s presence and absence. Third, it will argue that Malick’s cinematic restraint identifies the practice of detachment [Gelassenheit] as the link between his theological and Heideggerian interests.

Facing Forward, Looking Back: Religion And Film Studies In The Last Decade, Joseph Kickasola, John C. Lyden, S. Brent Plate, Antonio Sison, Sheila J. Nayar, Stefanie Knauss, Rachel Wagner, Jolyon Thomas

Journal of Religion & Film

On November 17, 2012, at the American Academy of Religion’s National Meeting, the Religion, Film, and Visual Culture Group sponsored a session entitled, “Facing Forward, Looking Back: Religion and Film Studies in the Last Decade.” The session focused on four recent books in the field of Religion and Film: John Lyden’s Film as Religion: Myths, Morals and Rituals (NYU, 2003); S. Brent Plate’s Religion and Film: Cinema and the Re-Creation of the World (Wallflower Press, 2009); Antonio Sison’s World Cinema, Theology, and the Human: Humanity in Deep Focus (Routledge, 2012); and Sheila Nayar’s The Sacred and the Cinema: Reconfiguring the …

Cloud Atlas, Gregory Chad Wilkes

Journal of Religion & Film

This is a film review of Cloud Atlas (2012) directed by Tom Tykwer, Andy Wachowski, and Lana Wachowski.

Drop Off Entries For The Student Film Festival Here Poster, Providence College

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

Production Office informational poster: Drop Off Entries for the Student Film Festival Here

The Providence College Film Festival 2013 Entry Form, Providence College

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

The Providence College Film Festival 2013 entry form

Attention Film Minors! Poster, Providence College

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

Student Film Festival 2013

Thursday, May 2, 2013, 6pm

Deadline for submissions: Thursday, April 25, 2013, 5pm