Film and Media Studies Commons^™

Everything But A Film: The Cinematic Adaptation Of An Original Work Of Literary Fiction, Peter C. Heide

Whittier Scholars Program

This project translates an original short story into a cinematic medium, short of actually making a complete film. This study provides commentary on the process of the project while including the original story, screenplay, storyboard and selected scenes. While the premise for the project was simple the actual execution was not.

Film Review: Cop Land, James Morrison

CMC Faculty Publications and Research

On the strength of Heavy and his new film, Mangold appears to be striving to forge an authentically ascetic style within the decidedly inhospitable climate of contemporary Hollywood. His decision to follow the anomalously quiet Heavy with a police-procedural that appears at least superficially to be in the up-tothe- minute blockbuster mode feels a bit like an exercise, an experiment in spiritual temptation-andresistance, and the news here is that Mangold has not sold out, as so many young filmmakers do after a first independent hit.

An Analysis Of The Films Of Francois Truffaut, Tara Dreier

Whittier Scholars Program

This project, written in French, is an exploration of the relationship between the personal ideology of French film director François Truffaut and his films. In examining such things as camera movements, camera angles, music, staging, and dialogue, the Scholar discovered how Truffaut’s ideas of childhood were displayed in his films. The life and work of Truffaut serves as a great example of how a director’s worldview is inevitably reflected in their films.

Introduction: Imaging, Representation, And Photography Of The Pacific Islands, Max Quanchi

Pacific Studies

No abstract provided.

Not So Nice Colored Girls: A View Of Tracey Moffatt’S Nice Coloured Girls, Caroline Vercoe

Pacific Studies

Nice Coloured Girls is Tracey Moffatt’s first film. Produced in 1987, this seventeen-minute film describes a tradition that has been passed down from her grandmother’s and great-grandmother’s generation—that of “picking up Captain.” Moffatt explains “since colonisation ‘picking up Captain’ has been a way for Aboriginal women to survive off white men.” Rather than creating new and empowered Aboriginal heroines for the 1990s, Moffatt chooses to site her characters within a colonial continuum. Her tradition begins with postcolonial contact and it is clearly formed by cross-cultural experiences. This essay focuses on the narrative structure of Nice Coloured Girls and discusses the …

Highlighting The Hidden: Visual Representation In Gutiérrez Aragón's Demonios En El Jardín, Linda M. Willem

Scholarship and Professional Work - LAS

According to Spanish film maker Manuel Gutiérrez Aragón, there is an intimate relationship between the family and the state, with the traits of the family mirroring those of the state in which it exists: "la primera célula del Estado es la familia, y si el Estado, por definición, es opresivo, la familia es igualmente opresiva" (García Fernández 331). "Yo utilizo la familia en mis películas porque es muy real, muy testimonial. La familia repite fielmente la estructura social 0 estatal" (Payán and López 27). In Demonios en el jardín (1982) Gutiérrez Aragón uses the metaphor of the family not only …

Uncanny Performances In Colonial Narratives: Josephine Baker In "Princess Tam Tam", Elizabeth Coffman

School of Communication: Faculty Publications and Other Works

No abstract provided.

Celluloid Death: Cinematic Depictions Of Capital Punishment, Roberta M. Harding

Law Faculty Scholarly Articles

This essay will examine how two filmmakers used the cinema to investigate death penalty issues through the films Dead Man Walking and Last Light. These films were selected because of their similarities: capital punishment is the central theme of both films; the presence of a strong principal character who is the condemned inmate; the utilization of a character who undergoes a spiritual transformation due to interaction with the condemned inmate; the decision to have this character facilitate the humanization of the condemned individual; and the additional role this character plays as the audiences' conscience. There are, however, differences in the …

Smith On Telotte, 'Replications: A Robotic History Of The Science Fiction Film', Anne Collins Smith

Faculty Publications

Review of J. P. Telotte: Replications: A Robotic History of the Science Fiction Film. Urbana: University of Illinois Press, 1995. 222 pp. $37.00 (cloth), ISBN 978-0-252-02177-0; $19.00 (paper), ISBN978-0-252-06466-1.

Reviewed by Anne Collins Smith (Austin Community College, Austin, Texas) Published on H-PCAACA (April, 1996)

Film Alchemy: Interviews With Direct-On-Film Animators, Leah Bosworth

Milne Library

Direct-on-film animation refers to any imagery created on film without a camera. An interchangeable term is "cameraless animation." Since the days of the direct-on-film pioneers Norman McLaren and Len Lye, the medium has evolved from a method of special effects to a broad range of artistic expression. The work of the four artists I interviewed illustrate the wide range of processes that can be considered direct-on-film animation from straightforward drawing and painting on film frame by frame, to altering the film's surface with chemicals.

A Conversation With Michael Apted, 1993, Michael Apted, Michael Rabiger

Conversation With...

On the evening of March 3, Michael Apted spoke to students at Columbia College about his film directing experience in the documentary and feature film field. Moderated by Michael Rabiger, director of Columbia College Documentary Center. Photographer: Pam Susemiehl. Film stills: Scott E. Marks. 33 pages.

Seduction, Control, & The Search For Authenticity: Madonna's Truth Or Dare, E. Deidre Pribram Ph.D.

Communications: Faculty Publications

Maddonnas' 1991 film Truth or Dare, based on her 1990 “Blond Ambition” tour—itself a combination of pop music and performance art— defies easy categorization. It is a “docudrama” of sorts: part documentary, part concert film, part dramatic enactment. By combining various filmic styles and traditions. Truth or Dare recreates certain long-standing cultural dichotomies between, for instance, onstage and offstage, public and private, reality and appearance, or truth and artifice. The film replicates such oppositions only to then question their continuing validity. Binary distinctions in Truth or Dare prove more apparent than real, more fleeting than differentiating. Ultimately, I believe, …

Occasional Papers: On Creativity In The Arts, Janice Rowan Poley

Hollybush Series

Volume 3 of The Hollybush Series contains thirteen essays on creativity, and three photographs of visual artwork, by Rowan College of New Jersey faculty.

The editor is Janice Rowan Poley and the authors of the works are Joseph Robinette, Antoinette Libro, Rodney Gates, William Morris, Kenneth Kaleta, William Travis, E. Michael Desilets, Donald Gephardt, Joseph Tishler, Bertram Greenspan, Daniel Chard, Richard Ambacher, Harold Oliver, N. Jeane Hartman, Richard Grupenhoff, and Joseph Bierman.

A Conversation With Spike Lee, 1992, Spike Lee, Chap Freeman

Conversation With...

On the evening of Febrary 15, Spike Lee spoke to students at Columbia College about his experience in filmmaking. He had just completed the filming of Malcolm X when this conversation took place. Moderated by Chap Freeman, co-chair of the Film and Video Department. Photographer: Pam Susemiehl. Film stills courtesy of Scott E. Marks and Richard Beer. 34 pages.

A Conversation With Jonathan Demme, 1991, Jonathan Demme, Anthony Loeb

Conversation With...

On the evening of May 18, Jonathan Demme spoke to students at Columbia College about his experience in the fields of film directing and producing while visiting Chicago for the 16th Annual Festival of Illinois Film and Video Artists. The discussion was moderated by Anthony Loeb, chair of the Film and Video Department. Photographer: Pamela Susmiehl. 27 pages.

Book Review: Subversive Pleasures: Bakhtin, Cultural Criticism, And Film, James Morrison

CMC Faculty Publications and Research

...Subversive Pleasures implicitly critiques the dominant parochialism of contemporary film study with the bracing electicism of its method. Both for its basic enterprise of installing Bakhtin as a touchstone fro film scholars and for its rangy, intellectually restless methodological alternative to the constricting specializing of current film theory, Stam's book is among the most important recent contributions to film study.

Looking For Literary Metaphor On Film: A Structuralist Study Of East Of Eden, Doctor Zhivago, And To Kill A Mockingbird, Charles D. Weaver

English Theses & Dissertations

A system based on existing research in semiotics and metaphor is developed and used to compare three novels with their film adaptations: East of Eden, Doctor Zhivago, and To Kill a Mockingbird. By grouping literary metaphors together in the novels, a subtext of meaning is revealed that can both aid in the understanding of the novel and serve as a tool for evaluating the faithfulness of the film adaptation. While none of the films studied completely followed this subtext, there were different levels of similarity between the novel and the visual metaphors used in the film. One reason for this …

Tainted Glory: Truth And Fiction In Contemporary Hollywood, Patricia A. Turner

Trotter Review

In the earliest days of cinema, the image of the African American on screen matched the off-screen image. When a 12-minute version of Uncle Tom's Cabin (1903) was filmed, "Tom" shows were the most popular stage shows, the Stowe novel was still a top-seller, and the notion that white southerners were the real victims of the peculiar institution was gaining increasing acceptance in academic circles. When D.W. Griffith's epic and revolutionary Birth of a Nation (1915) depicted a set of stock African-American movie characters — the subservient overweight domestic servant; the indifferent, coquettish mulatto; the savage, sexually driven buck; and …

A Conversation With Alan Parker, 1989, Alan Parker, Anthony Loeb

Conversation With...

On the evening of February 28, Alan Parker, director, writer, and producer, met with students at Columbia College and discussed his film Mississippi Burning and his experience in the field. The discussion was moderated by Anthony Loeb, chair of the Film and Video Department. Interview photographers: G. Joseph Guichard, Charles Celander. Film Still courtesy of Scott E. Marks. 31 pages.

Legacy Of Honor, Jame R. Cox

Theses

Unavailable.

Why People Like Horror Films: An Exploratory Study With Special Reference To The Opponent-Process Theory, Lori Graham

Whittier Scholars Program

The paper explores the reasons why audiences love horror films from a sociological perspective, specifically through the fear-pleasure paradox and the opponent-process theory.

A Conversation With Charles Robert Carner: A Columbia Graduate Leaves Chicago To Work As A Screenwriter In L.A., 1979, Charles Robert Carner, Anthony Loeb

Conversation With...

During May, Charles Robert Carner, a Columbia College Chicago 1978 graduate, returned to campus to talk with students about a career in screenwriting while in town for a screening of Seduced, a film he wrote for television. The discussion was moderated by Anthony Loeb, chair of the Film and Video Department. Photographer: Jack Rodriguez. 32 pages.

Film Bin, Winter 1984, Columbia College Chicago

Film Bin

Columbia College Chicago film program newsletter with articles about courses, faculty, staff, and students. 16 pages.

Film Bin, Fall 1983, Columbia College Chicago

Film Bin

Columbia College Chicago film program newsletter with articles about courses, faculty, staff, and students. 30 pages.

Film Bin, Spring 1983, Columbia College Chicago

Film Bin

Columbia College Chicago film program newsletter with articles about courses, faculty, staff, and students. 37 pages.

Film Bin, Winter 1983, Columbia College Chicago

Film Bin

Columbia College Chicago film program newsletter with articles about courses, faculty, staff, and students. 27 pages.

Film Bin, 1982, Columbia College Chicago

Film Bin

Columbia College Chicago film program newsletter with articles about courses, faculty, staff, and students. 32 pages.

Filmmakers In Conversation, 1982, William Friedkin, Buck Henry, Melvin Van Peebles, Anthony Loeb

Conversation With...

Several of these conversations were published in monograph form, available on this website. However, three conversations with William Friedkin, Buck Henry, and Melvin Van Peebles appear here for the first time in this 1982 publication.

Other conversations include John Cassavetes, Joan Tewkesbury, Steve Shagan, and Bill Butler. The publication was edited by Anthony Loeb, then chair of the Film Department, Columbia College Chicago. 135 pages.

The Scouting Difference: Development, Direction, And Evaluation Of A Documentary Film, Kirk E. Strickland

Theses and Dissertations

There is a need for supplemental reference material of an in-depth, specific nature to suggest methods of general application to the novice film director. Because film production is such a highly collaborative art, craft, and business with limited opportunities open to beginners, the novice director can benefit a great deal from the documented experiences of another. This study will provide insight into the practical role of the film director in motion picture production. In this way, this study can influence directorial practice in a positive manner by offering a forewarning of potential production challenges and help the novice to avoid …

A Conversation With Steve Shagan, 1977, Steve Shagan, Anthony Loeb

Conversation With...

On the evening of November 11, Steve Shagan met with the film students at Columbia College. Shagan authored and produced Save the Tiger. The discussion was moderated by Anthony Loeb, chair of the Film Department. Photographer: Randy Donefrio. 23 pages.