Essay Writing of Australia
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Argumentative essay is usually assigned as a capstone project or a final year project that involves lengthy and detailed research. It requires thorough research where a student is required to collect data through interviews, surveys or even through experiments as well as establishing a clear and reasonable thesis statement. Thus, a lot of students enquires on guidelines of how to write my essay.
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Advantages And Disadvantages Of Cinema
Further, you may be having no confidence in your skill of ingenuity to write and submit an original unique essay. In that case, you may be certain that our skilled essay writers will produce quality essays that you look forward to and deserve.
Custom essay writing services australia
This document discusses various perspectives on conceptualizing world cinema beyond just viewing it through a US-centric or Hollywood lens. It mentions concepts like Third Cinema which originated in Latin America and questions structures of power globally. National cinemas are also part of the totality of world cinema. More recently, critics look at factors like transnationalism, hybridity and globalization due to increased international co-productions, migration and digital convergence across borders and cultures. Defining world cinema is an ongoing discussion that must account for diverse audiences and sites of exhibition/distribution internationally.
Task 4 hollywood, british and third world films intro
Third World Cinema aims to question structures of power like colonialism and liberate oppressed groups facing gender, class, race, religion or ethnic oppression. It engages with questions of identity and diaspora communities, challenges views of history, and facilitates interaction between intellectuals and the public to imagine new possibilities through inclusion. The document discusses defining Third World Cinema and provides tasks to analyze a Third World film's conventions, funding, distribution, marketing, and how it differs from Hollywood and British films.
Issues in Film Studies 2: Week 7
The document discusses the concept of transnational cinema and challenges the idea of defining cinema based solely on national boundaries. It examines issues with identifying a national cinema, such as the global influence of Hollywood, and analyzes how Chinese cinema has responded to Hollywood's dominance through films like Hero that use spectacle and adopt Hollywood conventions while also promoting Chinese ideology. The document argues globalization is a complex process that allows for diverse influences between national cinemas.
Task 4 third world films
Third World Cinema aims to question structures of power like colonialism and promote liberation for oppressed groups facing issues of gender, class, race, religion, or ethnicity. It engages with questions of identity and diaspora communities, challenges views of history, and facilitates interaction between intellectuals and the masses through education and dialogue. Third World films are distinct from Hollywood or British films in how they address these issues and strive to imagine new models and possibilities for formerly colonized nations.
Civil Rights Movement
The civil rights movement was a worldwide political movement for equality before the law occurring between 1950 and 1980. In the United States, discriminatory laws and racial violence against African Americans and other minority groups increased in the late 19th century. By the 1960s, the emergence of the Black Power movement began to eclipse the original goals of integration espoused by Martin Luther King Jr. and advocated for black self-determination instead. Rosa Parks' refusal to give up her bus seat to a white passenger in 1955 sparked the Montgomery bus boycott and helped launch the modern civil rights movement.
Media History 7
The document discusses several topics related to global media and globalization, including:
1. The premises and results of globalization, including cheaper transportation/communication, the internet, English as the main language, and the idea of the world becoming a single place or "global village".
2. Different views on the "new global order" and questions around whether it will be democratic or dominated by large economies.
3. Issues around cultural imperialism, gatekeepers of information, imagined communities, and nationalism in the context of globalization.
4. Examples of media convergence in content, distribution platforms, industries, and culture.
5. Discussion of sites like AdBusters that resist branding and provide
Quanjiuzhouccs1
This document summarizes the Chinese 5th Generation Film Makers from the 1980s to present day. It discusses the influence of 5th Generation Cinema in China, the impact of Chinese and Hollywood cinema on each other, and how today's Chinese 5th Generation Cinema has been influenced by both cultures. It provides details on several influential 5th Generation film directors from China like Chen Kaige and Zhang Yimou, and examines some of their notable films that explored themes of love, freedom, and the American Dream while pushing the limits of censorship at the time in China.
Recommended
Advantages And Disadvantages Of Cinema
Further, you may be having no confidence in your skill of ingenuity to write and submit an original unique essay. In that case, you may be certain that our skilled essay writers will produce quality essays that you look forward to and deserve.
Custom essay writing services australia
This document discusses various perspectives on conceptualizing world cinema beyond just viewing it through a US-centric or Hollywood lens. It mentions concepts like Third Cinema which originated in Latin America and questions structures of power globally. National cinemas are also part of the totality of world cinema. More recently, critics look at factors like transnationalism, hybridity and globalization due to increased international co-productions, migration and digital convergence across borders and cultures. Defining world cinema is an ongoing discussion that must account for diverse audiences and sites of exhibition/distribution internationally.
Task 4 hollywood, british and third world films intro
Third World Cinema aims to question structures of power like colonialism and liberate oppressed groups facing gender, class, race, religion or ethnic oppression. It engages with questions of identity and diaspora communities, challenges views of history, and facilitates interaction between intellectuals and the public to imagine new possibilities through inclusion. The document discusses defining Third World Cinema and provides tasks to analyze a Third World film's conventions, funding, distribution, marketing, and how it differs from Hollywood and British films.
Issues in Film Studies 2: Week 7
The document discusses the concept of transnational cinema and challenges the idea of defining cinema based solely on national boundaries. It examines issues with identifying a national cinema, such as the global influence of Hollywood, and analyzes how Chinese cinema has responded to Hollywood's dominance through films like Hero that use spectacle and adopt Hollywood conventions while also promoting Chinese ideology. The document argues globalization is a complex process that allows for diverse influences between national cinemas.
Task 4 third world films
Third World Cinema aims to question structures of power like colonialism and promote liberation for oppressed groups facing issues of gender, class, race, religion, or ethnicity. It engages with questions of identity and diaspora communities, challenges views of history, and facilitates interaction between intellectuals and the masses through education and dialogue. Third World films are distinct from Hollywood or British films in how they address these issues and strive to imagine new models and possibilities for formerly colonized nations.
Civil Rights Movement
The civil rights movement was a worldwide political movement for equality before the law occurring between 1950 and 1980. In the United States, discriminatory laws and racial violence against African Americans and other minority groups increased in the late 19th century. By the 1960s, the emergence of the Black Power movement began to eclipse the original goals of integration espoused by Martin Luther King Jr. and advocated for black self-determination instead. Rosa Parks' refusal to give up her bus seat to a white passenger in 1955 sparked the Montgomery bus boycott and helped launch the modern civil rights movement.
Media History 7
The document discusses several topics related to global media and globalization, including:
1. The premises and results of globalization, including cheaper transportation/communication, the internet, English as the main language, and the idea of the world becoming a single place or "global village".
2. Different views on the "new global order" and questions around whether it will be democratic or dominated by large economies.
3. Issues around cultural imperialism, gatekeepers of information, imagined communities, and nationalism in the context of globalization.
4. Examples of media convergence in content, distribution platforms, industries, and culture.
5. Discussion of sites like AdBusters that resist branding and provide
Quanjiuzhouccs1
This document summarizes the Chinese 5th Generation Film Makers from the 1980s to present day. It discusses the influence of 5th Generation Cinema in China, the impact of Chinese and Hollywood cinema on each other, and how today's Chinese 5th Generation Cinema has been influenced by both cultures. It provides details on several influential 5th Generation film directors from China like Chen Kaige and Zhang Yimou, and examines some of their notable films that explored themes of love, freedom, and the American Dream while pushing the limits of censorship at the time in China.
World cinema
The document discusses the changing phases of world cinema from its origins to modern globalization. It begins by describing how the Lumiere brothers' invention of cinema brought moving images from region to region. It then outlines five phases of world cinema: Cosmopolitan, National, Federated, World, and Global. Later phases saw cinema become more transnational as technologies like video allowed for swift global distribution. The essay explores how cinema both reflected and shaped national and international connections and negotiations across its historical development.
NO_BIB_WORLD_CINE.docx
This document discusses the complex term "world cinema" and debates surrounding its definition. It explores how "world cinema" is often defined in opposition to Hollywood and the West, focusing on differences rather than similarities. The document analyzes two films, Wadjda (2012) and The Forgotten Ones (1950), to show how they draw on universal themes and techniques from multiple cinematic cultures to authentically represent their own cultures, rather than only focusing on differences from the West. It argues that "world cinema" is better understood by finding similarities between cultures' cinemas rather than only highlighting differences.
Questioning the Definition of Cinema: From Artistic Production to Discursive ...
Questioning the Definition of Cinema: From Artistic Production to Discursive ...International Journal of World Policy and Development Studies
This summary provides an overview of the document in 3 sentences:
The document discusses the changing definitions of cinema over time, from its origins as a technological invention to its development as an artistic medium and ideological tool. It explores cinema's shift from early "cinema of attractions" to later narrative films, driven by cultural pressures to be seen as a serious art form. The document also analyzes debates around defining cinema as an art based on its relationships to other arts and its unique cinematic techniques and editing, as well as defining it as an ideology based on how it conveys sociopolitical messages.Latin American Cinema
The document discusses the concept and history of "world cinema". It originated as "Third cinema", a politically engaged cinema that emerged in Latin America in the 1970s. Over time, Third cinema shed its explicit political agenda and became known as world cinema, referring broadly to non-Hollywood national cinemas. The document then provides context on Latin American cinema and its connections to Hollywood, European films, and cinematic movements like Brazil's Cinema Novo in the 1950s-60s which sought to represent ethnic minorities and the disenfranchised. It also discusses Third cinema theory proposed in 1969 which called for using film as a tool of decolonization and revolution.
Korea New Realism
This document provides an overview of approaches to analyzing Japanese melodrama films within Anglo-American film criticism from the 1970s onward. It discusses how early film criticism sought to elevate films by appealing to norms of high art, looking down on melodrama as a popular form. In the 1970s, critics began rehabilitating melodrama but tended to only value those that transcended the genre through auteurism or contradicted their ideology. When discussing non-Western melodrama, this risks treating it as derivative. The document examines challenges and opportunities in the works of critics Christine Gledhill and Mitsuhiro Yoshimoto for developing a reading of Japanese melodrama that learns from both feminism
JICMS CFP Rome 9-10 June 2017
The Journal of Italian Cinema and Media Studies is hosting its 5th anniversary international conference at The American University of Rome from June 9-10, 2017. The conference will provide a forum to discuss innovative directions for the journal and examine the role of Italian cinema and media in a global context. Possible topics include Italian co-productions, LGBTQ cinema, digital cultures, and television narratives. The deadline for 250-word abstract submissions is October 31, 2016. Selected papers will be considered for publication in the journal or an edited volume.
Understanding cinema:french new wave,italian neorealism and indian parallel c...
Italian Neorealism emerged in post-WWII Italy in response to the difficult economic conditions and desire to portray realism over fascism's rejection of realism. Key directors like Roberto Rossellini and Vittorio De Sica filmed on location using non-professional actors and a documentary style. De Sica's 1948 film Bicycle Thieves is considered the pinnacle of the movement. The French New Wave of the late 1950s rejected classical Hollywood styles through techniques like jump cuts and handheld cameras, influenced by writers at Cahiers du Cinema and the auteur theory. Parallel Indian Cinema emerged in the 1970s as an alternative to commercial Indian cinema, addressing social and political realities through serious themes and naturalism
Media Analysis Essay
This document provides background information and context for analyzing the film Ten Canoes (2006) and its representation of Indigenous Australians. It discusses how the film navigates tensions between local and global culture in its filmmaking style and intended audiences. The paper will analyze how specific elements of Ten Canoes reflect and engage with broader social, cultural and political discourses, both drawing from and shaping understandings of Indigenous culture.
Media Analysis Essay
This document provides background information and context for analyzing the film Ten Canoes (2006) and its representation of Indigenous Australians. It discusses how the film navigates tensions between local and global culture in its filmmaking style and intended audiences. The paper will analyze how specific elements of Ten Canoes reflect and engage with broader social, cultural and political discourses, both drawing from and shaping understandings of Indigenous culture.
Film Authorship
1. Theories of film authorship emerged in France after World War 2 as critics were able to identify thematic and stylistic links in films from Hollywood directors whose work had previously been unavailable.
2. French critics like Francois Truffaut and Andre Bazin suggested understanding films through their cinematographic properties and film style, focusing on the director as the central source of meaning.
3. The concept of the "auteur" refers to directors who imprinted their personal vision and style onto films, even within the Hollywood studio system, with Andrew Sarris identifying technique, personal style, and inner meaning.
Task 4 hollywood, british and third world films intro
Third World Cinema aims to question structures of power like colonialism and liberate oppressed groups. It engages with issues of identity and community for diaspora populations. Third World films challenge history and reveal struggles of minorities. They show experiences of poverty to facilitate education and dialogue rather than imagine poverty. The document discusses defining Third World Cinema and provides tasks to analyze a Third World film's conventions, funding, distribution, marketing, and how it differs from Hollywood and British films.
MAFMP - Ellen A. Saputra 22051422 - Practice of Cross-Genre in 'Modern' Holly...
This document discusses the practice of cross-genre filmmaking in modern Hollywood. It provides context on the evolution from classicism to modernism to postmodernism. Postmodernism is characterized by hybridity, with films mixing genres. Examples discussed include Alien (1977) as science fiction and horror, and Who Framed Roger Rabbit (1988) mixing live-action and animation. Famous postmodern directors like George Lucas, Robert Zemeckis, and James Cameron are noted for their hybrid films like Star Wars, Who Framed Roger Rabbit, and Titanic respectively.
Multicultural Week
On Monday, a university in France began its multicultural week with a presentation on French cinema. The document then discusses the history and characteristics of French cinema, noting its influence on film industries in other countries. French cinema emphasizes character development and avoids definitive endings. The document also explains that French cinema has attracted many foreign artists and that French directors have also influenced cinema in other nations.
APP 315-42 Asian Pop Culture & Globalization (#4) Kathe.docx
APP 315-42
Asian Pop Culture &
Globalization (#4)
Katherine Chu
2018/02/13
1
Last time …
Lecture #3 Key Ideas
The Slanted Screen
Asian American History
Asian images in Hollywood (6 images)
The stereotypes of Asians in Hollywood
Case study: Breakfast at Tiffany’s (1961)
What is Yellowface?
How did Asian response (or “talk back”) to Hollywood?
Film: An Autumn’s Tale (1987)
Introduce you to some Asian Stars
TODAY !
The Global Impact of S. Korean Pop
Culture in Asia
On the syllabus
I required students to read from Chapter 1 to Chapter
4.
Feel free to pick one or more chapters to read.
Reasons to read:
Each chapter could be a sample to your FINAL
RESEARCH PAPER
Each chapter falls into one or two of popular culture
analysis (the 4 critical approaches) [NEXT SLIDE]
which I have introduced to you in Lecture #1
Four Critical Approaches
Production analysis
Textual analysis
Audience analysis
Historical Analysis
Critical Approaches
Production Analysis
Who owns the media? Who makes these texts? With
What intentions? Under what technical constraints?
How democratic or elitist is the production or popular
culture? Role of the state government? How much is
commerce? How much creative freedom?
Critical Approaches
Textual Analysis
How do specific works of popular culture make their
meanings? How do explicit meanings differ from
implied ones? How do texts consciously and
subconsciously shape those who hear, see, or touch
them?
Critical Approaches
Audience Analysis
How do different groups of popular culture consumers
or users, make similar or different sense of the same
texts?
Historical Analysis
How have these other three dimensions changed over
time? How does current popular culture differ from
that of 10, 20 or 30 years ago? What accounts for the
changes?
About the Book
Chapter 1 – overview the Korean Wave
Chapter 2 – Impact of Korean TV dramas
Chapter 3 – Impacts of Korean Wave in Indonesia
Chapter 4 – Impacts of Korean Wave in Japan
When you write your Readings Response Journal,
please provide me a summary of each chapter. Then
you can discuss some interesting points from the
chapters.
Key Ideas of Lecture #4
What is globalization?
Remember our course name? Asian Pop Culture &
Globalization.
About your Final Research Paper
What is Korean Wave?
Asian Pop Culture Development
Regionalism
US’s impact
What is Globalization?
Globalization
1. An outgrowth of cultural imperialism
US (“West”): Stronger àVS. Others (“East”/
“Oriental”): Weaker
One-way flow of western media
“One-way” means: flows from the West to the East ONLY,
not the opposite way
Globalization
1. An outgrowth of cultural imperialism
US (“West”)à Weaker
One-way flow of western.
Multicultural Week
Multicultural week began on Monday at the university. On Tuesday, a presentation of French cinema was held in the auditorium, which will be the topic discussed below. French cinema has had a strong influence globally and is supported by the French government. Characteristics include slower pacing, character development, and ambiguous endings. French directors have also influenced cinema in other countries. Contemporary French films explore cinema's ability to engage both our emotions and intellect through embodied experiences. Recent French films have found commercial success internationally, demonstrating the global reach of French cinema.
Multicultural Week
Multicultural week began on Monday at the university. On Tuesday, a presentation of French cinema was held in the auditorium, which will be the topic discussed below. French cinema has had a strong influence and tradition. It has been influential both within France and abroad. Contemporary French films often explore cinema's ability to engage both our senses and intellect through embodied experiences. French cinema has also had economic success internationally in recent years.
Documentary production Course Curriculum.pdf
This course covers the history and development of documentary film from its beginnings to present day. It examines major films, movements, filmmakers and types of documentaries from various national and cultural contexts. The course aims to both explore the skills of producing an audio-visual documentary and analyze such texts in relation to debates over epistemology, ethics, power relations, and ideology. Students will build documentary production skills, develop an understanding of documentary theory and history, and learn to relate theory and practice through a documentary video project and critique. Assessment includes attendance, a midterm, a documentary criticism exercise, and a final documentary video.
articl on Art Cinema
The term "art cinema" is one of the most familiar in film studies, marking out simultaneously specific filmmakers, specific films, specific kinds of cinemas, and, for some writers, specific kinds of audiences.
Muzing New Hoods, Making New Identities Film, Hip-Hop Culture.docx
Muzing New Hoods, Making New Identities: Film, Hip-Hop Culture, and Jazz Music
Author(s): Guthrie P. Ramsey, Jr.
Source: Callaloo, Vol. 25, No. 1, Jazz Poetics: A Special Issue (Winter, 2002), pp. 309-320
Published by: The Johns Hopkins University Press
Stable URL: http://www.jstor.org/stable/3300430 .
Accessed: 20/10/2011 00:08
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MUZING NEW HOODS, MAKING NEW IDENTITIES
Film, Hip-Hop Culture, and Jazz Music
by Guthrie P. Ramsey, Jr.
We make our lives in identifications with the texts around us
everyday.
Anahid Kassabian, Hearing Film Music
The medium of film has communicated, shaped, reproduced and challenged
various notions of black subjectivity in 20th century America since D.W. Griffith's
Birth of a Nation appeared in 1915. Writing in 1949, Ralph Ellison argued that Birth of
a Nation "forged the twin screen image of the Negro as bestial rapist and grinning, eye-
rolling clown-stereotypes that are still with us today" (Ellison 275). Such depictions
in cinema had already existed in print media; and they have persisted in all mass-
mediated contexts in varying degrees throughout the century. Film, however, has
provided a most salient medium for the visual representation of African American
subjects. If, as Manthia Diawara has argued, the camera is, "the most important
invention of modern time," then it becomes an even more powerful tool when its
technology is combined with the powers of music. Indeed, when filmmakers combine
cinematic images and musical gestures they unite two of our most compelling modes
of perception: the visual and the aural.
Below I consider two films produced during the Age of Hip Hop: Spike Lee's Do
the Right Thing (1989) and Theodore Witcher's Love Jones (1997).1 On an immediate
level, I am interested how music shapes the way we perceive these cinematic
narratives individually; how music informs the way audiences experience their
characters, locations, and plots. But I am also making a larger argument for how the
musical scores of these films are sites for the negotiation of personal identity and self-
fashioning on the one hand, and the making and negotiation of group identity, on the
othe ...
National Cinema vs Hollywood Industry - Essay
In the following essay I will explain if the idea of national cinema can be maintained
in an era of global cultural production. To explore this theory I will focus on the power
of Hollywood and the pressures of global film industry versus the difficulties of
national and art cinema of getting a niche in the film market.
South African Journal of Science: Writing with integrity workshop (2024)
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World cinema
The document discusses the changing phases of world cinema from its origins to modern globalization. It begins by describing how the Lumiere brothers' invention of cinema brought moving images from region to region. It then outlines five phases of world cinema: Cosmopolitan, National, Federated, World, and Global. Later phases saw cinema become more transnational as technologies like video allowed for swift global distribution. The essay explores how cinema both reflected and shaped national and international connections and negotiations across its historical development.
NO_BIB_WORLD_CINE.docx
This document discusses the complex term "world cinema" and debates surrounding its definition. It explores how "world cinema" is often defined in opposition to Hollywood and the West, focusing on differences rather than similarities. The document analyzes two films, Wadjda (2012) and The Forgotten Ones (1950), to show how they draw on universal themes and techniques from multiple cinematic cultures to authentically represent their own cultures, rather than only focusing on differences from the West. It argues that "world cinema" is better understood by finding similarities between cultures' cinemas rather than only highlighting differences.
Questioning the Definition of Cinema: From Artistic Production to Discursive ...
Questioning the Definition of Cinema: From Artistic Production to Discursive ...International Journal of World Policy and Development Studies
This summary provides an overview of the document in 3 sentences:
The document discusses the changing definitions of cinema over time, from its origins as a technological invention to its development as an artistic medium and ideological tool. It explores cinema's shift from early "cinema of attractions" to later narrative films, driven by cultural pressures to be seen as a serious art form. The document also analyzes debates around defining cinema as an art based on its relationships to other arts and its unique cinematic techniques and editing, as well as defining it as an ideology based on how it conveys sociopolitical messages.Latin American Cinema
The document discusses the concept and history of "world cinema". It originated as "Third cinema", a politically engaged cinema that emerged in Latin America in the 1970s. Over time, Third cinema shed its explicit political agenda and became known as world cinema, referring broadly to non-Hollywood national cinemas. The document then provides context on Latin American cinema and its connections to Hollywood, European films, and cinematic movements like Brazil's Cinema Novo in the 1950s-60s which sought to represent ethnic minorities and the disenfranchised. It also discusses Third cinema theory proposed in 1969 which called for using film as a tool of decolonization and revolution.
Korea New Realism
This document provides an overview of approaches to analyzing Japanese melodrama films within Anglo-American film criticism from the 1970s onward. It discusses how early film criticism sought to elevate films by appealing to norms of high art, looking down on melodrama as a popular form. In the 1970s, critics began rehabilitating melodrama but tended to only value those that transcended the genre through auteurism or contradicted their ideology. When discussing non-Western melodrama, this risks treating it as derivative. The document examines challenges and opportunities in the works of critics Christine Gledhill and Mitsuhiro Yoshimoto for developing a reading of Japanese melodrama that learns from both feminism
JICMS CFP Rome 9-10 June 2017
The Journal of Italian Cinema and Media Studies is hosting its 5th anniversary international conference at The American University of Rome from June 9-10, 2017. The conference will provide a forum to discuss innovative directions for the journal and examine the role of Italian cinema and media in a global context. Possible topics include Italian co-productions, LGBTQ cinema, digital cultures, and television narratives. The deadline for 250-word abstract submissions is October 31, 2016. Selected papers will be considered for publication in the journal or an edited volume.
Understanding cinema:french new wave,italian neorealism and indian parallel c...
Italian Neorealism emerged in post-WWII Italy in response to the difficult economic conditions and desire to portray realism over fascism's rejection of realism. Key directors like Roberto Rossellini and Vittorio De Sica filmed on location using non-professional actors and a documentary style. De Sica's 1948 film Bicycle Thieves is considered the pinnacle of the movement. The French New Wave of the late 1950s rejected classical Hollywood styles through techniques like jump cuts and handheld cameras, influenced by writers at Cahiers du Cinema and the auteur theory. Parallel Indian Cinema emerged in the 1970s as an alternative to commercial Indian cinema, addressing social and political realities through serious themes and naturalism
Media Analysis Essay
This document provides background information and context for analyzing the film Ten Canoes (2006) and its representation of Indigenous Australians. It discusses how the film navigates tensions between local and global culture in its filmmaking style and intended audiences. The paper will analyze how specific elements of Ten Canoes reflect and engage with broader social, cultural and political discourses, both drawing from and shaping understandings of Indigenous culture.
Media Analysis Essay
This document provides background information and context for analyzing the film Ten Canoes (2006) and its representation of Indigenous Australians. It discusses how the film navigates tensions between local and global culture in its filmmaking style and intended audiences. The paper will analyze how specific elements of Ten Canoes reflect and engage with broader social, cultural and political discourses, both drawing from and shaping understandings of Indigenous culture.
Film Authorship
1. Theories of film authorship emerged in France after World War 2 as critics were able to identify thematic and stylistic links in films from Hollywood directors whose work had previously been unavailable.
2. French critics like Francois Truffaut and Andre Bazin suggested understanding films through their cinematographic properties and film style, focusing on the director as the central source of meaning.
3. The concept of the "auteur" refers to directors who imprinted their personal vision and style onto films, even within the Hollywood studio system, with Andrew Sarris identifying technique, personal style, and inner meaning.
Task 4 hollywood, british and third world films intro
Third World Cinema aims to question structures of power like colonialism and liberate oppressed groups. It engages with issues of identity and community for diaspora populations. Third World films challenge history and reveal struggles of minorities. They show experiences of poverty to facilitate education and dialogue rather than imagine poverty. The document discusses defining Third World Cinema and provides tasks to analyze a Third World film's conventions, funding, distribution, marketing, and how it differs from Hollywood and British films.
MAFMP - Ellen A. Saputra 22051422 - Practice of Cross-Genre in 'Modern' Holly...
This document discusses the practice of cross-genre filmmaking in modern Hollywood. It provides context on the evolution from classicism to modernism to postmodernism. Postmodernism is characterized by hybridity, with films mixing genres. Examples discussed include Alien (1977) as science fiction and horror, and Who Framed Roger Rabbit (1988) mixing live-action and animation. Famous postmodern directors like George Lucas, Robert Zemeckis, and James Cameron are noted for their hybrid films like Star Wars, Who Framed Roger Rabbit, and Titanic respectively.
Multicultural Week
On Monday, a university in France began its multicultural week with a presentation on French cinema. The document then discusses the history and characteristics of French cinema, noting its influence on film industries in other countries. French cinema emphasizes character development and avoids definitive endings. The document also explains that French cinema has attracted many foreign artists and that French directors have also influenced cinema in other nations.
APP 315-42 Asian Pop Culture & Globalization (#4) Kathe.docx
APP 315-42
Asian Pop Culture &
Globalization (#4)
Katherine Chu
2018/02/13
1
Last time …
Lecture #3 Key Ideas
The Slanted Screen
Asian American History
Asian images in Hollywood (6 images)
The stereotypes of Asians in Hollywood
Case study: Breakfast at Tiffany’s (1961)
What is Yellowface?
How did Asian response (or “talk back”) to Hollywood?
Film: An Autumn’s Tale (1987)
Introduce you to some Asian Stars
TODAY !
The Global Impact of S. Korean Pop
Culture in Asia
On the syllabus
I required students to read from Chapter 1 to Chapter
4.
Feel free to pick one or more chapters to read.
Reasons to read:
Each chapter could be a sample to your FINAL
RESEARCH PAPER
Each chapter falls into one or two of popular culture
analysis (the 4 critical approaches) [NEXT SLIDE]
which I have introduced to you in Lecture #1
Four Critical Approaches
Production analysis
Textual analysis
Audience analysis
Historical Analysis
Critical Approaches
Production Analysis
Who owns the media? Who makes these texts? With
What intentions? Under what technical constraints?
How democratic or elitist is the production or popular
culture? Role of the state government? How much is
commerce? How much creative freedom?
Critical Approaches
Textual Analysis
How do specific works of popular culture make their
meanings? How do explicit meanings differ from
implied ones? How do texts consciously and
subconsciously shape those who hear, see, or touch
them?
Critical Approaches
Audience Analysis
How do different groups of popular culture consumers
or users, make similar or different sense of the same
texts?
Historical Analysis
How have these other three dimensions changed over
time? How does current popular culture differ from
that of 10, 20 or 30 years ago? What accounts for the
changes?
About the Book
Chapter 1 – overview the Korean Wave
Chapter 2 – Impact of Korean TV dramas
Chapter 3 – Impacts of Korean Wave in Indonesia
Chapter 4 – Impacts of Korean Wave in Japan
When you write your Readings Response Journal,
please provide me a summary of each chapter. Then
you can discuss some interesting points from the
chapters.
Key Ideas of Lecture #4
What is globalization?
Remember our course name? Asian Pop Culture &
Globalization.
About your Final Research Paper
What is Korean Wave?
Asian Pop Culture Development
Regionalism
US’s impact
What is Globalization?
Globalization
1. An outgrowth of cultural imperialism
US (“West”): Stronger àVS. Others (“East”/
“Oriental”): Weaker
One-way flow of western media
“One-way” means: flows from the West to the East ONLY,
not the opposite way
Globalization
1. An outgrowth of cultural imperialism
US (“West”)à Weaker
One-way flow of western.
Multicultural Week
Multicultural week began on Monday at the university. On Tuesday, a presentation of French cinema was held in the auditorium, which will be the topic discussed below. French cinema has had a strong influence globally and is supported by the French government. Characteristics include slower pacing, character development, and ambiguous endings. French directors have also influenced cinema in other countries. Contemporary French films explore cinema's ability to engage both our emotions and intellect through embodied experiences. Recent French films have found commercial success internationally, demonstrating the global reach of French cinema.
Multicultural Week
Multicultural week began on Monday at the university. On Tuesday, a presentation of French cinema was held in the auditorium, which will be the topic discussed below. French cinema has had a strong influence and tradition. It has been influential both within France and abroad. Contemporary French films often explore cinema's ability to engage both our senses and intellect through embodied experiences. French cinema has also had economic success internationally in recent years.
Documentary production Course Curriculum.pdf
This course covers the history and development of documentary film from its beginnings to present day. It examines major films, movements, filmmakers and types of documentaries from various national and cultural contexts. The course aims to both explore the skills of producing an audio-visual documentary and analyze such texts in relation to debates over epistemology, ethics, power relations, and ideology. Students will build documentary production skills, develop an understanding of documentary theory and history, and learn to relate theory and practice through a documentary video project and critique. Assessment includes attendance, a midterm, a documentary criticism exercise, and a final documentary video.
articl on Art Cinema
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Muzing New Hoods, Making New Identities Film, Hip-Hop Culture.docx
Muzing New Hoods, Making New Identities: Film, Hip-Hop Culture, and Jazz Music
Author(s): Guthrie P. Ramsey, Jr.
Source: Callaloo, Vol. 25, No. 1, Jazz Poetics: A Special Issue (Winter, 2002), pp. 309-320
Published by: The Johns Hopkins University Press
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MUZING NEW HOODS, MAKING NEW IDENTITIES
Film, Hip-Hop Culture, and Jazz Music
by Guthrie P. Ramsey, Jr.
We make our lives in identifications with the texts around us
everyday.
Anahid Kassabian, Hearing Film Music
The medium of film has communicated, shaped, reproduced and challenged
various notions of black subjectivity in 20th century America since D.W. Griffith's
Birth of a Nation appeared in 1915. Writing in 1949, Ralph Ellison argued that Birth of
a Nation "forged the twin screen image of the Negro as bestial rapist and grinning, eye-
rolling clown-stereotypes that are still with us today" (Ellison 275). Such depictions
in cinema had already existed in print media; and they have persisted in all mass-
mediated contexts in varying degrees throughout the century. Film, however, has
provided a most salient medium for the visual representation of African American
subjects. If, as Manthia Diawara has argued, the camera is, "the most important
invention of modern time," then it becomes an even more powerful tool when its
technology is combined with the powers of music. Indeed, when filmmakers combine
cinematic images and musical gestures they unite two of our most compelling modes
of perception: the visual and the aural.
Below I consider two films produced during the Age of Hip Hop: Spike Lee's Do
the Right Thing (1989) and Theodore Witcher's Love Jones (1997).1 On an immediate
level, I am interested how music shapes the way we perceive these cinematic
narratives individually; how music informs the way audiences experience their
characters, locations, and plots. But I am also making a larger argument for how the
musical scores of these films are sites for the negotiation of personal identity and self-
fashioning on the one hand, and the making and negotiation of group identity, on the
othe ...
National Cinema vs Hollywood Industry - Essay
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in an era of global cultural production. To explore this theory I will focus on the power
of Hollywood and the pressures of global film industry versus the difficulties of
national and art cinema of getting a niche in the film market.
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Essay Writing of Australia
- 1. Essay Writing of Australia
- 2. Describe And Discuss The US- centric position of the term,take for granted the centrality of Hollywood as setting the standard against which all other cinemas must define themselves _Fail to take into account the great diversity of other cinemas or the different historical trajectories of their origins and developments
- 3. Cinema Pertained World cinema is pertained to the notion of Third Cinema, the theory that originated outside the US/European context. Coined in 1969 by Argentine filmmakers Fernando Solanas and Octavio Getino.
- 4. Aesthetic And Political Project Third Cinema is an aesthetic and political project that is revolutionary and militant in origin, nature and intent.
- 5. Cinema Films Third Cinema films question and challenge the structures of power and oppression in the world, be they related to class, race, ethnicity, gender or religion _Apart from the non- Western/non-Hollywood and Third cinema models, another way of conceiving world cinema is as the sum total of all the national cinemas in the world and also essay writing Services Australia.
- 6. Contemporary Critics Some contemporary critics refer to Iran as the world’s most important national cinema, with an artistic significance that invites comparison to Italian neorealism
- 7. Based On Criteria Based on criteria such as types of production, distribution and exhibition, audiences, discourses, textuality, national-cultural specificity, Crofts distinguishes between eight varieties of nation- state cinema
- 8. Separate Art Film is now no longer a separate art but belongs to an enormous multinational system of TV networks, internet, international co- productions, being part of the digital convergence with other media
- 9. Conceptualise Cinema With an attempt to conceptualise cinema beyond the nation-state, terms such as transnational, transvergent and accented cinema (Naficy 2001) have been employed.
- 10. Discussion Of World Cinema In a discussion of world cinema, the film- viewing subject also needs to be taken into consideration. In our age of globalization and increased migration of essay writing australia, the spectator can no longer be regarded as a homogenous entity.
- 11. Main Sites The main sites of exhibition (world cities, international film festivals) have become hybrid and plural spaces so that the older dichotomies between West and non-West, self and the other are beginning to disappear.
- 12. Consequently They Propose Consequently they propose that world cinema be reconceptualised in terms of “hybridity, transculturation, border crossing, transnationalism and translation” (Dennison & Lim 2006:6) and be regarded separately as a discipline, a methodology and a perspective.
- 13. Distributed Internationally Who decides what films should be distributed internationally under the “world cinema” label
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