Film and Media Studies Commons^™

History Of Film Iii Flm 206, Michael Vocino

Library Impact Statements

No abstract provided.

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 communication, atmosphere, and …

Gender Matters At The Toronto International Film Festival, Patricia White

Film & Media Studies Faculty Works

No abstract provided.

A Preservationist’S Guide To #100hardtruths-#Fakenews: One Fake News Preserve, Alexandra Juhasz

Publications and Research

The author created a media project, #100hardtruths-#fakenews, to collect and preserve media relating to fake news that was generated during the first 100 days of the U. S. Presidency of Donald J. Trump. Her resulting website chronicles fake news as well as the many media responses to it. This article describes the author’s construction of the site, characteristics of the posts, and ways in which she navigated the large volume of fake news and related posts. The project explores the complex issues that attend such a project. The goal was to induce energy and insight so that thoughtful professionals might …

From Locus Amoenus To Locus Horribilis: Provincial And Urban Spaces Of Cultural (Re)Assertion And Hegemony In Yates And Sigel’S When The Mountains Tremble And Bustamante’S Ixcanul, Katrina Abad

Views from Below: The Underdog in Contemporary Latin American and Spanish Film

The trope of locus amoenus, or the idyllic representation of heaven on earth, and its counterpart locus horribilis, or the mundane incarnation of hell, was first critically defined by Ernst Robert Curtius in 1953 and identified in religiously influenced literature as early as Latin and medieval European works. Since then, the locus theory has appeared in numerous secular texts and films, such as Marcelo Ferrari’s Sub Terra (2004), as a means of distinguishing the once-pristine ‘purity’ of provincial spaces from the physically and metaphorically cramped mines and buildings produced by an urbanized modernity. This essay seeks to translate …

The Anti-Hero Perspective Of Sebastián Silva’S The Maid, Amber Bradley

Views from Below: The Underdog in Contemporary Latin American and Spanish Film

Many contemporary Latin American films portray a character or a protagonist that strives to bring in an audience to emphasize the “underdog” and their role in society. In Sebastián Silva’s Chilean film, The Maid (2009), Raquel is a maid and nanny, who achieves the exact opposite throughout the movie. This servant’s societal perspectives concerning distinct classes and gender roles are shown through her photographs and passive aggressive actions towards some of the family members and the other women, who are hired to help her lighten the housework of the home. Raquel’s attitude, mistreatment and tricks demonstrate her apparent desire to …

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 …

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, Tej K. Bhatia

Languages, Literatures, and Linguistics - All Scholarship

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, 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, 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, Tony Michael

Journal of Religion & Film

This is a film review of Revenge (2017), directed by Coralie Fargeat.

The Fluid Gaze In Virtual Reality, Soudhamini

Film and Media Arts Faculty Articles and Research

"In 2006, in the course of an Artists Residency in Munich I made a video triptych titled Meditations on the Tiger, in which a story unfolds over three adjacent screens... The story is as linear as it can get, but working with three screens I found I could move laterally as well... There were multiple tracks of time running together on that train - the real time of action and event, the hurtling projected time of anticipation and expectation, and the deep, reflective time of memory, thought and speech. 3 video timelines synchronized so we begin to approach image, just …

Providence College Department Of Theatre, Dance & Film 2017-2018 Season Flyer, Department Of Theatre, Dance & Film

Promotional Materials

Providence College Department of Theatre, Dance & Film

2017-2018 Season

Providence College Department Of Theatre, Dance & Film 2017-2018 Season Poster, Department Of Theatre, Dance & Film

Promotional Materials

Providence College Department of Theatre, Dance & Film

2017-2018 Season

Woman Standing, Allison Adams

Masters Theses & Specialist Projects

This is a feature-length screenplay following Farren Cane, a young woman living in a rural Appalachian town, as she struggles with the intersections of gender, class, and the tension between her own ambition and her familial obligation.

Through The Eyes Of A Child: The Portrayal Of South Africa’S Apartheid In Children’S Cinema, Keira B. Koch

Student Publications

August 1977: a thirteen-year-old African American girl stands at the gate of an airport holding a bouquet of flowers. Standing with her mother, she is anxiously awaiting the arrival of Mahree, a South African school girl her family has offered to host for the upcoming academic school year. The young African American girl, Piper, is excited to meet this South African girl, hoping their African heritage will bond them together. The passengers all exit the plane, and Piper starts to worry that they are at the wrong gate because neither Piper nor her mom spotted a fourteen-year-old South African girl …

The State Of Hollywood Between The World Wars, George R. Robinson

Open Educational Resources

No abstract provided.

Untitled Print, Zealand Linton

Film

Sleeping Beauty project

2017 State Of The Visual Resources Association, Jen Green

Dartmouth Library Staff Publications

During the 2017 Annual Business Meeting of the Visual Resources Association in Louisville, Kentucky, the president highlighted the accomplishments and challenges of the Association in a state of the association presentation. This article provides the transcript.

Modernism And Citizen Kane, George R. Robinson

Open Educational Resources

Lecture traces the rise of High Modernism vis-a-vis cinema, focusing on why mainstream American film didn't adapt modernist tropes until Welles's 1941 debut feature Citizen Kane

L.A. Rebellion: Creating A New Black Cinema, Book Review, Peter Catapano

Publications and Research

No abstract provided.

“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 Guzman’s …

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 the way …

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 Daisy to her fate, are black …

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, 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 …

Fixing Ground Zero: Race And Religion In Francis Lawrence’S I Am Legend, Michael E. Heyes

Journal of Religion & Film

Francis Lawrence’s I Am Legend is a complex intertext of Matheson’s novel of the same name and its two previous film adaptations. While the film attempts to depict racism as monstrous, the frequent invocation of 9/11 imagery and Christian symbolism throughout the film recodes the vampiric dark-seekers as radical Islamic terrorists. This serves to further enshrine an us/Christians vs. them/Muslim dichotomy present in post-9/11 America, a dichotomy that the film presents as “curable” through the spread of Christianity and the fall of Islam.

Les Affamés, J. Barton Scott

Journal of Religion & Film

This is a film review of Les Affamés, directed by Robin Aubert.

Verónica, Kyle Derkson

Journal of Religion & Film

This is a film review of Verónica (2017), directed by Paco Plaza.