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Articles 31 - 60 of 71
Full-Text Articles in Film and Media Studies
The Underrepresentation Of African Americans And The Role Of Casting Directors, Chantal Suhling
The Underrepresentation Of African Americans And The Role Of Casting Directors, Chantal Suhling
School of Communications Undergraduate Research
Films are cultural products, which reflect the existing ideologies in a culture. In the American culture the two dominant ideologies are white normativity and patriarchy. With the Oscars right around the corner, the world is anticipating this year's nominees and winners. Hopes are high that this year the Academy Award for best actor will go to someone who is diverse. If films are reconstructions of culture, then can we really expect to see change at the Oscars? Through thorough qualitative research and interviews with industry professionals, a detailed picture of the role of casting directors in the casting process for …
New Hollywood: Classical Hollywood In A New Light, Wesley D. Buskirk
New Hollywood: Classical Hollywood In A New Light, Wesley D. Buskirk
Cinesthesia
This essay analyzes the manifestations of America’s post-1960 film industry, more specifically the rise of “New Hollywood.” In response to governmental intervention of the studio system, the popularization of commercial television, and the influences of the French New Wave, Hollywood’s emerging “film generation” embraced the commercialization of the star auteur and the blockbuster picture. George Lucas and Steven Spielberg, sons of the “Hollywood Renaissance,” capitalized on the potential of “high concept,” “ultra-high-budget” feature films and their associated synergetic marketing systems, a phenomenon referred to as the “blockbuster syndrome.” Jaws, a pioneering New Hollywood megapicture directed by Spielberg, exhibits the “Lucas-Spielberg” …
“I’M Trying To Do Something Important”: The Materialist Ideology Of Birdman, Nicholas Beardslee
“I’M Trying To Do Something Important”: The Materialist Ideology Of Birdman, Nicholas Beardslee
Cinesthesia
A strong set of values dictate societal expectations and popular discourse. Though these values seem to overshadow any notions that do not agree with them, outliers still remain. It is from the disparate perspectives that the most can be learned, and one film in particular provides a very valuable lesson. Primarily in content but also in form, Alejandro G. Iñárritu’s Birdman subtly challenges the dominant value of materialism by means of its main character Riggan’s desperate search for material success, through which he begins to realize the futility of his efforts.
I Want To Believe: Kant, The X Files, And Cosmopolitical Unity, Jeremy Knickerbocker
I Want To Believe: Kant, The X Files, And Cosmopolitical Unity, Jeremy Knickerbocker
Cinesthesia
Kant’s final chapter of Anthropology from a Pragmatic Point of View, puts forth certain observations concerning the characteristics of human beings. In order for these observations to have rational validity as a proposed ‘human nature,’ however, Kant admits that it is necessary to compare between humans and another species of rational animal. Thus in an effort not to succumb to a naively anthropocentric thesis of nature, Kant still falls victim to his own anthropocentric privileging of rationality as a strictly human capacity—at least terrestrially speaking. While Kant fails to recognize any other earthly species as a rational animal, he nevertheless …
Into Darkness: Representing American Anxieties, Alison Pettibone
Into Darkness: Representing American Anxieties, Alison Pettibone
Cinesthesia
The film Star Trek Into Darkness (Abrams, 2013) examines what it means to be human and the fears that are latent within the American subconscious through layered storytelling coupled with the special effects that are now conventional in big budget studio productions. There are many elements within the film that lend themselves to the intricate narrative weaving including mise-en-scene, sound and especially characters. All of these elements combine to create an engaging science fiction thriller that also subtly comments on America’s global status and anxieties about the future.
Digital Vision And The Noir Hero In Claire Denis’ Bastards, Spencer Everhart
Digital Vision And The Noir Hero In Claire Denis’ Bastards, Spencer Everhart
Cinesthesia
As with most directors whose careers began with (and consisted of) the process of filmmaking with actual celluloid, it was only a matter of time before French auteur Claire Denis made the transition to digital – and it was in 2013 that she did just that, abandoning physical film in favor of digital cinema for her neo-noir feature Bastards. The decision to switch wasn’t reluctant, though, as Denis had expressed an interest in experimenting with the format on her previous film White Material (2009). This aesthetic receptiveness is evident in Bastards, as it illustrates Denis’ effort to go beyond mere …
Paul Leduc: The Politics Of Mexican Cinema In The 1970s, Joe Hogan
Paul Leduc: The Politics Of Mexican Cinema In The 1970s, Joe Hogan
Cinesthesia
It thus makes sense that critics tend to present strong arguments about the political agendas of Mexican filmmakers from the 1970s. Among the most popular in the subject is Paul Leduc, whose work has been cast as exemplary of the political ethos of the day. However, it is my position that, upon close examination, Leduc’s films seem not always to present a straightforward political message, much less one that would clearly bolster the aims of the Echeverria administration. For that reason, I will examine two of Leduc’s films, Reed: México Insurgente and Frida: naturaleza viva (1983), to reveal how they …
The Lens That Sees Itself: Fruitful Interactions Of Film And Philosophy, Travis Wheeler
The Lens That Sees Itself: Fruitful Interactions Of Film And Philosophy, Travis Wheeler
Cinesthesia
Much of film theory holds that film is primarily an act of communication, whose message the audience understands. While this allows us great insights into the ideological and subconscious functions of a great many films, it falls short of this success with more enigmatic films. In instances such as these, where films are not easily understood, a different paradigm is necessary. Using philosophical texts as comparative tools in film analysis provides the answer to this "blindspot" in film criticism.
Chile: Cinema In Exile, Hannah Lynch
Chile: Cinema In Exile, Hannah Lynch
Cinesthesia
Executions, disappearances, and exile are not the first words that come to mind when picturing the long, versatile landscape of Chile. Nonetheless, Chile was under the harsh control of Augusto Pinochet from 1974 until 1990 and experienced a high level of political oppression during that time. Though Chile had only a short film history before the rule of Pinochet, cinema remained relevant despite the exile and hardships experienced by several prominent Chilean filmmakers. Ironically, under the hostile dictatorship of Augusto Pinochet, Chile developed a stronger national cinema, producing politically and historically motivated films made by the exiled filmmakers, who persevered …
An Interview With Barbara Roos, Joe Hogan
An Interview With Barbara Roos, Joe Hogan
Cinesthesia
Barbara Roos started teaching when Grand Valley was just a few buildings erected on a slab of midwestern prairie. Nixon was in office then, and young draftees were still being sent to Vietnam. In those days, Grand Valley – not yet a university but a cluster of colleges – was alive with the spirit of the counter-culture. William James College, among the most pedagogically experimental of the colleges, was interdisciplinary and non-departmental – it emphasized harmony between theory and practice, thought and action. At James, Roos co-founded the film and video program. In the following interview, she talks with guest …
Formalism Exemplified In The Wolf Of Wall Street, Jillian S. Mccafferty
Formalism Exemplified In The Wolf Of Wall Street, Jillian S. Mccafferty
Cinesthesia
In an essay titled “Film and Reality” formative film theorist Rudolph Arnheim poses a list of "limitations" that a film must adhere to in order to be considered art. "Formalism Exemplified in The Wolf of Wall Street" uses the lens of formative theory to examine Martin Scorsese's sprawling 2013 masterpiece to determine whether or not the film adheres to Arnheim's theory and can be considered film art.
Egyptian Film And Feminism: Egypt’S View Of Women Through Cinema, Wesley D. Buskirk
Egyptian Film And Feminism: Egypt’S View Of Women Through Cinema, Wesley D. Buskirk
Cinesthesia
This essay analyzes the history of Egyptian film in relationship to the common perception of women in Egypt. From the early stages of Egyptian cinema, women assumed leadership positions, helping build the undeveloped industry to its height in the mid-1900's. An increasingly state-led and male-dominated film industry, however, adopted women as a symbol of nationalism, while neglecting them as equals through traditionalist film content. Furthermore, in the last quarter of the 20th century, governmental influences resulted in a shortage of production resources. Although commercial motion pictures suffered, social-issue, realist movies have reignited feminist initiatives and provided hope for a recovering …
That’S Why I’M Lonely: Ideology Of The Absurd, Jeremy D. Knickerbocker
That’S Why I’M Lonely: Ideology Of The Absurd, Jeremy D. Knickerbocker
Cinesthesia
Ideological film theory is enjoying somewhat of a resurgence in contemporary film criticism. Most notably, filmmaker Sophie Fiennes' recent collaborations with Slovenian philosopher Slavoj Žižek, The Pervert's Guide to Cinema (2006) and The Pervert's Guide to Ideology (2012). In this essay I attempt to grapple with Harmony Korine's delightfully enigmatic and underrated masterpiece Mister Lonely (2007) through the methodological lens of Ideological film theory. I doing so, I seek to provide insights on the complex nature of ideological categories and the necessity of a more nuanced approach to ideological analysis.
Nollywood: Rooted In Yoruba, A. Evan Kresta
"If You Have No Men, You Have No War!”: A Critical Overview Of Edgar Selwyn's Men Must Fight (1933), Ryan R. Copping
"If You Have No Men, You Have No War!”: A Critical Overview Of Edgar Selwyn's Men Must Fight (1933), Ryan R. Copping
Cinesthesia
ABSTRACT: Edgar Selwyn’s Men Must Fight (1933) is an obscure yet culturally relevant science fiction drama. An atypical film from its era, the movie has an unusual subject for a Classical Hollywood film- gender socialization. The film didactically argues that wars are inevitable because men are inherently violent, and that, conversely, world peace world occur if women were in power, a possibility that appears to be regrettably impossible. It is also remarkably prescient in predicting that World War II would begin in 1940, only one year off from the German invasion of Poland. This paper combines a close content analysis …
The Zone: James, Tarkovsky, And Understanding Reality, Travis Wheeler
The Zone: James, Tarkovsky, And Understanding Reality, Travis Wheeler
Cinesthesia
Using the philosophy of William James as comparison, this essay attempts to understand Andrei Tarkovsky's view of reality and the strategies his characters use to experience it.
An Apartment Of One’S Own: Personal Initiative And Private Ownership In Frances Ha, Anna Bowles
An Apartment Of One’S Own: Personal Initiative And Private Ownership In Frances Ha, Anna Bowles
Cinesthesia
In “Ideology, Genre, Auteur,” Robin Wood says that by approaching film through the framework of ideological theory, we can become sensitized to “the opposing pulls, the tensions, of one’s world (593).” Even in a film that is not explicitly political, these tensions can find expression. In Frances Ha (Baumbach 2012), a young woman struggles to chase her dream while also staying afloat in the harsh landscape of New York City. Until near the end of the film, it seems that Frances might float forever. The supports that Americans used to take for granted are no longer apparent. Having lost her …
Moral Anxiety, Mortal Terror: Considering Spielberg, Post-9/11, Jake T. Bart
Moral Anxiety, Mortal Terror: Considering Spielberg, Post-9/11, Jake T. Bart
Cinesthesia
In the wake of 9/11, a defining moment in the young 21st century, Spielberg’s thematic concerns undergo a marked evolution. As film historian Joseph McBride noted, “(n)o other American artist confronted the key events of the first decade of the century with such sustained and ambitious treatment” (450). Together, Spielberg’s War of the Worlds (2005), Munich (2005), and Minority Report (2002) create an informal trilogy, each exploring a different facet of American shock and anxiety in the War on Terror era.
The Cinema Of Spain: An Overview, Shae Spencer
The Cinema Of Spain: An Overview, Shae Spencer
Cinesthesia
In spite of difficult circumstances throughout the history of Spanish cinema, Spain's filmmakers have kept the industry alive and relevant.
Once Upon A Time In Louisiana: The Complex Ideology Of Beasts Of The Southern Wild, Jake T. Bart
Once Upon A Time In Louisiana: The Complex Ideology Of Beasts Of The Southern Wild, Jake T. Bart
Cinesthesia
On the face of it, Benh Zeitlin’s Beasts of the Southern Wild is an intimately scaled production that aims to tell the story of a young girl’s coming of age. However, despite its tight focus, the film brushes up against many explosively political issues—post-Katrina disaster relief, climate change, and poverty among them. Yet, extrapolating from the theories of writers like Robin Wood, Jean-Louis Comolli, and Jean Narboni reveals that all films are created from some sort of ideological basis, whether that basis is intentional or unintentional, conscious or unconscious. Viewed through a theoretical framework, Beasts of the Southern Wild possesses …
An Interview With Annette Insdorf, Joseph T. Hogan
All There Is To See: Film Restoration And Access In The Digital Age, Robert Peters
All There Is To See: Film Restoration And Access In The Digital Age, Robert Peters
Cinesthesia
No abstract provided.
Exploring Time And Space In Frame By Frame Animation, Daniel L. Ketchum
Exploring Time And Space In Frame By Frame Animation, Daniel L. Ketchum
Cinesthesia
No abstract provided.
Postmodern Funhouse: The Sly Underpinnings Of Hitchcock’S Psycho, Jacob T. Bart
Postmodern Funhouse: The Sly Underpinnings Of Hitchcock’S Psycho, Jacob T. Bart
Cinesthesia
Although his filmography is studded with gems, no other Hitchcock film has lodged itself in the popular consciousness as firmly as Psycho. It provides chills as a ripped-from-the-headlines slasher flick, but the macabre surfaces conceal its deeper, mordant cultural resonances. In Psycho, many of Hitchcock’s major tactics fall under the umbrella of postmodernism. These methods include, but are not limited to, Hitch’s specific focus on developing a playful mood, his exploration of levels of audience participation within the confines of a film, and his preoccupation with surfaces. Although made within the confines of the last vestiges of the classic Hollywood …
The Realism Of Space In Black Swan, Raquel Bordin
The Realism Of Space In Black Swan, Raquel Bordin
Cinesthesia
The camera pans from the shattered pieces of a mirror to blood pouring from under the bathroom door. The sight of blood comes as no surprise to the audience, who has just witnessed Nina murder Lily in that very dressing room. It is later revealed that there is no blood and that the murder never occurred. Yet, the audience believes these scenes from Black Swan (Aronofsky, 2010) to be real because director Darren Aronofsky effectively evokes the story's illusions out of reality itself. An analytical study of Andre Bazin's realist theory demonstrates how Aronofsky is able to consciously manipulate mise-en-scene, …
The Cinematic Power Of Night And Fog, James M. Christie
The Cinematic Power Of Night And Fog, James M. Christie
Cinesthesia
A contemplative camera glides fluidly through a vacant field, one that appears like any other. As it glides, somber images of barbed wire, dilapidated barracks, and rusted railroad tracks beckon the audience to witness the ruins of the Aushwitz-Birkenau concentration camp. “Going slowly along the tracks, seeking what?” asks narrator Michel Bouquet. These questions are more rhetorical than anything, allowing the audience to question their own moral and social obligations to the unfathomable. For the sake of humanity, it is crucial to remember the events of the Holocaust and deny them from happening again. Released only ten years after the …
Back To Basics: The Dogme 95 Movement, Travis Blake
Epistemology In "Stalker", Travis Wheeler
Kurosawa's "Seven Samurai" And The Japanese Art Form, Dave Chaness
Kurosawa's "Seven Samurai" And The Japanese Art Form, Dave Chaness
Cinesthesia
No abstract provided.
For Country, For Women: Women Directors In The Czech Republic, Hungary, Poland, And Romania, Kathleen Mceneaney
For Country, For Women: Women Directors In The Czech Republic, Hungary, Poland, And Romania, Kathleen Mceneaney
Cinesthesia
No abstract provided.