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Daily Illini Features Section February 2007 Link: http://www.dailyillini.com/features/article_88c8a65c-816c-5048-ab1b-97c31f4a7a65.html
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2 RANDY MALAMUD
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have been harmed in the making of a film. (And given the extent to
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1:1完美还原海外各大学毕业材料上的工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微741003700
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◇回国马上就要找工作，办给用人单位看；
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8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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ANIMALS ON FILM:
THE ETHICS OF THE HUMAN GAZE
RANDY MALAMUD
Randy Malamud, Professor of English at Georgia State University, is the editor of
A Cultural History of Animals in the Modern Age (Berg, 2007) and the author of Reading
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1998) and Poetic Animals and Animal Souls (Palgrave Macmillan, 2003). He is a Fellow
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electricity plant whose engines power the computer I used to
compile these ideas. But if I can have the benefit of the doubt, I’d like
to suggest that simply writing about other animals may engage them
in a way that leaves them none the worse off for the encounter. And
this harm-neutral encounter is an improvement over the usual state of
affairs. Our imperious presence, our industrial infrastructure, our social
networks, and our cultural activities encroach upon the safety and
integrity of other species.1
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Zoos: Representations of Animals and Captivity (Macmillan and New York University Press,
1998) and Poetic Animals and Animal Souls (Palgrave Macmillan, 2003). He is a Fellow
of the Oxford Centre for Animal Ethics and a Patron of the Captive Animals’ Protection
Society.
“No animals were harmed in the making of this essay.”
T
hat may seem like a trivial claim. It’s probably not even true,
considering the habitat damage caused by emissions from the
electricity plant whose engines power the computer I used to
compile these ideas. But if I can have the benefit of the doubt, I’d like
to suggest that simply writing about other animals may engage them
in a way that leaves them none the worse off for the encounter. And
this harm-neutral encounter is an improvement over the usual state of
affairs. Our imperious presence, our industrial infrastructure, our social
networks, and our cultural activities encroach upon the safety and
integrity of other species.1
People imprison and torture animals in factory farms and research
laboratories. We displace them as our cities and suburbs expand. We
poison them as we dump toxins into their food-ways (and then, with
ecological tunnel-vision, we overfish these poisoned waters for fetishized
2 RANDY MALAMUD
aquatic delicacies). We commodify them in the “pet” industry. But even
when we take a break from such active physical assaults, we are prone
to engage with animals in ways that hurt their spirits and impinge upon
their welfare. The consequence of most human-animal encounters is
the expression of harm via pathways of power.
Nonetheless, for decades, the American movie industry has taken
the initiative to assert and verify the converse: that is, many films carry
a disclaimer in the credits stating, “No animals were harmed in the
making of this movie.” It’s a pleasant thought, so common that we
may not even notice it or think about how and why animals might
have been harmed in the making of a film. (And given the extent to
which our culture is virtually built upon animals’ lives and deaths, this
claim of “no harm” seems more than a little ironic.) The certification
comes from the American Humane Association’s (AHA) Film and
Television Unit, which sponsors animal safety monitors on film sets to
ensure adherence to its guidelines for the treatment of animal actors.2
The AHA3 began monitoring the safety of animals after the 1939
film Jesse James provoked an outcry when a horse was forced to leap to
his or her death from the top of a cliff.4 The AHA now reviews scripts
during pre-production and enjoys unlimited access to a movie set
during filming that involves animals. The phrase “No animals were
harmed in the making of this movie,” first used in Paul Newman’s Fat
...
JaneGoodall
1) World-renowned primatologist Jane Goodall visited a school in Castañer, Puerto Rico where she was greeted by singing children and given a tour of the coffee plantation.
2) During a brief interview, Goodall said that animal testing should be moved beyond and that alternatives should be found through superior human intelligence. She also expressed optimism about protecting chimpanzees and improving human lives in Africa.
3) Goodall's prominent research on chimpanzees in Tanzania has led her to dedicate her life to defending endangered species and protecting animal and human rights. She hopes to establish conservation groups in Puerto Rico through her Jane Goodall Institute.
REPREZENTING REALITY IN ETHNOGRAPHIC FILM
This document discusses the representation of reality in ethnographic films before and during the 1960s. It examines how early films like Nanook of the North (1922) and Dead Birds (1963) portrayed other cultures. While documentaries aim to show real life, they are constructed representations that reflect the filmmakers' decisions and purposes. Ethnographic films strive to interpret other cultures for viewers, but achieving objectivity is challenging as films are artistic works that also exhibit exoticism. The relationship between anthropology and film has evolved as both fields developed in the early 20th century.
68-27-wuff-oftruthandmagic-teenage
The second annual Winnipeg Underground Film Festival (WUFF) is taking place from June 27-29, showcasing experimental and independent films that push boundaries. This year's festival received over 800 submissions for its open call. Some highlights mentioned include a program of experimental cat videos called "Cats of the Avant-Garde" and the German documentary "A flea's skin would be too big for you" about a theme park for little people in China. The organizers hope to bring more attention to experimental cinema in Winnipeg and dispel the idea that it is only academic not fun.
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Totally buggin
- 1. Totally Buggin' - The Daily Illini: Features Totally Buggin' Elizabeth Weber | Posted: Wednesday, February 21, 2007 12:00 am Insects. For some people they are nothing more than pesky critters, while for others, just the thought of them makes their skin crawl. However, the annual Insect Fear Film Festival, sponsored by the Entomology Graduate Student Association, aims to continue its goal of poking fun at people's insect phobias. With this year's theme surrounding Japanese insect fear films, the festival will demonstrate how Eastern cultures' perspectives of insects contrast from our own. "This year we're looking at insects through another cultural lense," said May Berenbaum, head of the Entomology Department at the University and creator of the festival. "The disgust of insects is not a world view shared by everyone." To go with the Japanese theme, one of the main stars of the festival will be none other thanMothra, a city-destroying moth made famous by appearances in Godzilla films. Berenbaum said she believes Mothra epitomizes the difference between eastern and western cultures with respect to insects. "Over there, (Mothra is) a beloved icon," she said. "She achieved a measure of fame unequaled by any giant insect in any film genre." Along with featuring two Mothra films, short-length Anime and Manga films will also be shown at the event, which Berenbaum hopes will attract fans of both genres to the festival. "I think insects are appealing in Anime and Manga because they are very robot-like," she said. "They're very well-suited to the drawing style, which is why there are already so many different insect images and references." Entering its 24th year, the idea for the festival originated when Berenbaum was a grad student at Cornell University. At the time, the Asian-American Society was sponsoring a Godzilla festival and she considered it a fun idea for the entomology department to sponsor their own. "I thought if the Asian-American students could have a sense of humor about who they are, why can't entomologists," she said.
- 2. Unfortunately for Berenbaum, the department deemed the idea inappropriate. After graduating, she came to the University and worked as an assistant professor for a few years to establish herself as a "solid citizen" before bringing the idea to the department head. This time around, Berenbaum was in luck as she gained the support she needed to launch the festival. Since its debut in 1984, other entomology departments across the country have begun their own film festival traditions. Besides film viewings, the festival also features interactive exhibits including a petting zoo, face-painting booth, insect collections and an insect art competition. The art competition features work from students in grades K-12 and awards prizes for categories based on five student grade levels, best technical art and most frightening. In fact, many of these interactive booths draw more crowds than the films, especially the petting zoo. However, Pete Reagel, graduate student in Entomology, knows that running this kind of exhibit comes with its fair share of difficulty. "Last year it was probably as cold that night as it is currently and every time the doors opened the cold wind would come in and the insects became immobile," he said. "You could pick them up and they wouldn't move. I felt pretty sorry for them." Even more difficult than the cold weather is occasionally dealing with the interaction between the live insects and humans, especially the younger crowds. "I think I would be more afraid of the tarantulas getting hurt than the kids," said Liz Graham, graduate student in Entomology and T-shirt vendor at the festival. "We've had kids hold insects before and drop them and normally it's not that big of a deal, but things like tarantulas are real sensitive," she added. Befriend a bug The Insect Fear Film Festival is on Saturday, Feb. 24 at Foellinger Auditorium. Doors open at 6 p.m. The film screenings will begin promptly at 7 p.m. For more information about the festival and its history, visit http://www.life.uiuc.edu/entomology/egsa/ifff.html.