Arts and Humanities Commons^™

Organic Interfaces; Or, How Human Beings Augment Their Digital Devices, John Hunter

Faculty Journal Articles

It is a central premise of the advertising campaigns for nearly all digital communication devices that buying them augments the user: they give us a larger, better memory; make us more “creative” and “productive”; and/or empower us to access whatever information we desire from wherever we happen to be. This study is about how recent popular cinema represents the failure of these technological devices to inspire the enchantment that they once did and opens the question of what is causing this failure.

Using examples from the James Bond films, the essay analyzes the ways in which human users are frequently …

On The Origins Of The Robert Beck Memorial Cinema, Brian L. Frye

Law Faculty Scholarly Articles

In this article, the Author explains the origins of The Robert Beck Memorial Cinema (RBMC), a microcinema located in New York City. The idea was to show movies that no one else could or would.

Medium-Specificity And Sociality In Expanded Cinema Re-Enactment, Lucas M. Ihlein

Faculty of Law, Humanities and the Arts - Papers (Archive)

In this short paper, I introduce the work of the artist group Teaching and Learning Cinema, which reenacts Expanded Cinema artworks from the 1960s and 70s. I make a connection between sociality (which binds together artists in collectives and screening "clubs") and the issue of mediumspecificity. Re-enacting Expanded Cinema, I suggest, gently probes at the intersection of mediumspecificity and sociality. This practice asks questions about the material qualities of film, video and performance, and the particular relations these media carry across time and culture.

Cinematic Jewish Women In Rural Argentina And The Representation Of Argentinidad, Mirna Vohnsen

Articles

From the outset, Argentine cinema has played a significant role in the question of argentinidad. The historical account of how Jewish immigrants from Eastern Europe settled in the Argentine interior and became Argentines rooted in the land has not escaped Argentine film. Although period films portray Jewish female characters as nation builders alongside their male counterparts, the study of Jewish women in Argentine cinema has received little scholarly attention. In an attempt to remedy that, this article shows that the examination of the Jewish female onscreen can shed light on the controversial question of argentinidad. It examines the representation of …

Profiles Of Selected Mormon Actors, J. Michael Hunter

Faculty Publications

“Profiles of Selected Mormon Actors” provides brief profiles of over 80 Mormon actors and actresses, including some biographical information and career highlights. This chapter appears in the first volume of Mormons and Popular Culture: The Global Influence of an American Phenomenon (Praeger 2013), a comprehensive treatment of Mormons and popular culture, providing an introduction and wide-ranging overview of the topic.

The Mormon Influence At Disney, J. Michael Hunter

Faculty Publications

“The Mormon Influence at Disney,” provides a history of Mormons—members of The Church of Jesus Christ of Latter-day Saints (LDS Church)— involved with the Walt Disney Company, including animators, composers, and administrators. Beginning with cartoonist Floyd Gottfredson’s influence on the development of Mickey Mouse, the history continues with the influence of animators like Eric Larson, Les Clark, Judge Whitaker, Scott Whitaker, Don Bluth, and Richard Rich. Beginning as an animator on Snow White and the Seven Dwarfs, Larson went on to become a member of the Disney Studio’s powerful board known as “the nine old men.” Mormon composers covered …

Crossover Cinema: A Conceptual And Genealogical Overview, Sukhmani Khorana

Faculty of Law, Humanities and the Arts - Papers (Archive)

In this collection, the term crossover cinema is used to encapsulate an emerging form of cinema that crosses cultural borders at the stage of conceptualization and production and hence manifests a hybrid cinematic grammar at the textual level, as well as crossing over in terms of its distribution and reception. It argues for the importance of distinguishing between crossover cinema and transnational cinema. While the latter label has been important in enabling the recognition and consideration of the impact of post–World War II migration and globalization on film practice and scholarship, and while it constituted a significant advance on the …