Social and Behavioral Sciences Commons^™

A Vermont Romance Turns One Hundred: Vermont's Earliest Surviving Photoplay, Martin L. Johnson, Frederick Pond

University Libraries Faculty and Staff Publications

In 2016, a hundred-year-old film spent the year touring the northern half of Vermont, drawing audiences to refurbished opera houses and picture palaces. But the picture being celebrated for its centenary year was not D. W. Griffith's Intolerance or Lois Weber's Shoes, two of the best-known films made in 1916. Instead, Vermonters were watching what they believed to be the first feature film made in their state, the fetchingly titled photoplay A Vermont Romance.

But A Vermont Romance is not a conventional feature picture. None of the people who appeared in the film had previous movie acting experience, …

Screening Southeast Asia: Film, Politics, And The Emergence Of The Nation In Postwar Southeast Asia, Darlene Machell Espena

Research Collection School of Social Sciences

No abstract provided.

Time Machine Research And Approach, Tarek Bouraque

Theses and Dissertations

Time Machine is a hybrid documentary that explores the logics of enslavement, colonialism, eurocentrism and their interconnectedness in our globalized world. Mustapha Azemmouri, born in 1502, undertakes a journey to the 21st century to recount his own story of enslavement and exploration, and reflects on a collective puzzle of 500 years of hidden history.

Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright

Journal of Religion & Film

John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experiences into enigmatic visions that invite and guide interpretation. A comparison of montage sequences in Ford’s The Grapes of Wrath and Pare Lorentz’s The Plow That Broke The Plains (1936), a Farm Security Administration documentary, clarifies how Ford’s narrative film aligns spectators within and outside the mise-en-scène.