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Articles 31 - 37 of 37
Full-Text Articles in Other Film and Media Studies
American Indians In Feature Films: Beyond The Big Screen, Daisy V. Domínguez
American Indians In Feature Films: Beyond The Big Screen, Daisy V. Domínguez
Publications and Research
This article examines whether library collections represent the breadth of portrayals of American Indians in feature film and provides collection development resources for developing and strengthening feature film collections by and about American Indians.
Burn After Viewing, Or, Fire In The Vaults: Nitrate Decomposition And Combustibility, Heather M. Heckman
Burn After Viewing, Or, Fire In The Vaults: Nitrate Decomposition And Combustibility, Heather M. Heckman
Faculty and Staff Publications
Although the fire risks associated with nitrate film stock are widely known, understanding of the relationship between nitrate decomposition and combustibility remains weak. This paper surveys the contradictory descriptions of decomposition and combustibility of motion picture film in current archival and safety literature, evaluates their sources, and compares them to descriptions by image stability researchers and chemists. Throughout, the author argues that the dialogue among the archival, safety, and scientific communities is inadequate and that no community has satisfactorily established the evolution of flammability as nitrate decomposes. The author concludes by outlining a plan for nitrate research and advocacy over …
Is Disney Surfing The Third Wave? A Study Of The Pervasiveness Of The Third Wave Of Feminism In Disney's Female Protagonists, Emily S. Ellington
Is Disney Surfing The Third Wave? A Study Of The Pervasiveness Of The Third Wave Of Feminism In Disney's Female Protagonists, Emily S. Ellington
Senior Honors Theses
It is important to understand factors that have influenced Generation Y’s view of womanhood. One way to do this is to analyze third wave feminist messages portrayed by Disney, the media powerhouse. In order to determine if Disney reflects feminist values, the third wave themes portrayed in The Little Mermaid (1989), Beauty and the Beast (1991), Pocahontas (1995), and Mulan (1999) are examined. It is concluded that Disney portrays the feminist values of independence and multiculturalism; however, the films are set within patriarchal societies and portray women to be domestic. Ultimately, Disney portrays four messages about womanhood: Women are equal …
Allusion As Form: The Waste Land And Moulin Rouge!, Stacy Magedanz
Allusion As Form: The Waste Land And Moulin Rouge!, Stacy Magedanz
Library Faculty Publications & Presentations
Allusion is usually considered a literary technique, but relatively little attention has been paid to the notion of allusion as a literary form. In this essay, I attempt to describe the allusive form based on two prominent examples, T. S. Eliot’s Waste Land and Baz Luhrmann’s Moulin Rouge! Though radically different, the two works embody distinguishing characteristics of the allusive form. These are intertextuality, or a dependence upon outside sources for sense and significance; heightened and self-conscious artificiality; a confrontational attitude toward the audience; elitism, based on the exclusivity of allusions; appropriation of multiple cultures; and pervasive anachronism. Though prone …
Visions And Numbers: Aronofsky's Π And The Primordial Signifier, Paul Eisenstein
Visions And Numbers: Aronofsky's Π And The Primordial Signifier, Paul Eisenstein
English Faculty Scholarship
No abstract provided.
Where Does Creativity Come From? And Other Stories Of Copyright, Michael J. Madison
Where Does Creativity Come From? And Other Stories Of Copyright, Michael J. Madison
Articles
This Commentary on Lydia Pallas Loren, Untangling the Web of Music Copyrights, 53 Case W. Res. L. Rev. 673 (2003), observes that debates over a variety of copyright law issues can be - and in fact, often are - structured in narrative terms, rather than in terms of doctrine, policy, or empirical inquiry. I suggest a series of such narratives, each framed by a theme drawn from a feature film. The Commentary suggests that we should recognize more clearly the role of narrative in intellectual property discourse, and that intellectual property narratives should be examined critically.
Film Alchemy: Interviews With Direct-On-Film Animators, Leah Bosworth
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.