An Interview with Film Maker Mary Jane Doherty

2020 ◽  
pp. 179-188
Author(s):  
Tawnya D. Smith ◽  
Mary Jane Doherty
Keyword(s):  
Film Maker

Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu

2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes
Keyword(s):  
Short Stories ◽  
Cultural Studies ◽  
First Century ◽  
Short Film ◽  
Source Text ◽  
Temporal Ventriloquism ◽  
The Past ◽  
Film Maker ◽  
Global Power ◽  
Political Intervention

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.

The Film-Maker as Romantic Poet: Brakhage and Olson

1982 ◽  
Vol 35 (3) ◽  
pp. 35-43
Author(s):  
David James
Keyword(s):  
Film Maker ◽  
Romantic Poet

Gregg Araki: Guerrilla Film-Maker for a Queer Generation

1996 ◽  
Vol 50 (1) ◽  
pp. 18-26 ◽  
Author(s):  
James M. Moran
Keyword(s):  
Film Maker ◽  
Gregg Araki

Preface to Section 2: Voices of separated migrant youth

2019 ◽  
pp. 105-114
Author(s):  
Sue Clayton
Keyword(s):  
Young People ◽  
Film Maker ◽  
Migrant Youth ◽  
Welfare Systems ◽  
The Way

Sue Clayton worked with separated refugee youths between 2006 and 2017 as a film-maker and academic, and as more recently as a consultant for the BBC, ITV News and Channel 4 News. She has interviewed over 200 young refugees. This preface draws out themes from these interviews and uses the young people’s own words to tell their stories. The participants have been anonymised for reasons of privacy. These narratives are told in the way the young people wished to tell them. Together they present a collective picture of typical life journeys - hopes, fears and aspirations - which can be read to inform and inflect the chapters that follow which focus on young people’s experiences within immigration and welfare systems.

scholarly journals La catégorie de la réticence et un retour au récit dans l’écriture de Jean-Philippe Toussaint. Une introduction

2021 ◽  
Vol 16 (2) ◽  
pp. 105-122
Author(s):  
Dorota Czerkies
Keyword(s):  
Short Stories ◽  
Realistic Model ◽  
Francophone Literature ◽  
The Novel ◽  
Film Maker

The Category of Reticence and a Return to the Story in Jean-Philippe Toussaint’s Writing. An Introduction The article presents the function of reticence in Jean-Philippe Toussaint’s writing in the context of the return to the story in francophone literature, initiated in the 80s of the 20th c. Jean-Philippe Toussaint is a contemporary Belgian writer, photographer and film-maker. He has written twelve novels and short stories, as well as authored films and installations. Belonging to the generation of minimalist writers, Toussaint sets his use of reticence in the context of the tendency to return to Genette’s category of story (récit). Since the publication of his novel La Réticence (1991) reticence has become the key category of his écriture. In his books, it shapes the form, the narration and the plot, the construction of characters, temporality, and space. Thus, its function in Toussaint’s writing enables us to observe idiosyncratic aspects of his “infinitesimalist” texts which play with the canonical, realistic model of the novel. Kategoria „powściągliwości” (réticence) i powrót do opowieści w pisarstwie Jeana-Philippe’a Toussainta. Wprowadzenie Artykuł stanowi próbę omówienia kategorii powściągliwości (fr. réticence) w prozie Jeana-Philippe’a Toussainta w kontekście powrotu do opowieści w literaturze frankofońskiej, zapoczątkowanego w latach 80. XX wieku. Jean-Philippe Toussaint to współczesny belgijski pisarz, fotograf i filmowiec. Napisał m.in. dwanaście powieści i kilka zbiorów krótkich form, jest także autorem filmów i instalacji. Jako przedstawiciel pokolenia pisarzy minimalistycznych Toussaint osadza wykorzystanie powściągliwości w kontekście zjawiska powrotu do genette’owskiej kategorii opowiadania (fr. récit). Od czasu publikacji powieści La Réticence (1991) powściągliwość stała się kluczową kategorią Toussaintowskiego pisarstwa. W jego utworach kształtuje formę, narrację i fabułę, ale także konstrukcję postaci, czasowość i przestrzeń. W ten sposób status omawianej kategorii w twórczości Toussainta umożliwia analizę poszczególnych, a zarazem charakterystycznych dla tego twórcy aspektów textes infinitésimalistes, które podejmują grę z modelem balzakowskiej powieści realistycznej.

scholarly journals A história oral visita o cinema: Que bom te ver viva e Los Rubios

2016 ◽  
Vol 2 (1) ◽  
pp. 118
Author(s):  
Ana Maria Veiga
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Oral History ◽  
Time History ◽  
Film Maker ◽  
Political Resources ◽  
Palabras Clave ◽  
Brazilian Film ◽  
Siglo Xx

ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

scholarly journals Marie de l’Incarnation d’après Jean-Daniel Lafond : l’amour d’une sainte contre la barbarie actuelle

2015 ◽  
Vol 21 (1) ◽  
pp. 185-197
Author(s):  
Amandine Bonesso
Keyword(s):  
Film Maker ◽  
The Future ◽  
Autobiographical Texts ◽  
Biographical Tradition

Abstract The contribution examines the documentary Folle de Dieu (2008) and the play Marie de l'Incarnation ou La déraison d'amour (2009), Jean-Daniel Lafond’s adaptations of Marie de l’Incarnation’s (1599-1672) autobiographical texts. The study demonstrates that the two works, the last in a long biographical tradition, construe the nun’s life as a humanitarian model through the theme of love. In this manner, the film-maker encourages the current society not to give way to the bellicose violence of the last century and to rethink the future as a possible happiness.

ARTlines: three walking artists in Iceland

2017 ◽  
Author(s):  
Patti Lean
Keyword(s):  
Climate Change ◽  
Art History ◽  
Close Contact ◽  
Environmental Concerns ◽  
Art Practice ◽  
Film Maker ◽  
The Sublime ◽  
The Rich

Artist Patti Lean gives an account in this chapter of a walking and camping tour of Iceland in the company of two other artists. The three artists, in sharing the experience of close contact with the sublime landscape of the island, each responded in their own way to produce art work. Lean’s art practice focussed on this compelling landscape, but all three artists also engaged with the rich Icelandic culture and the chapter includes discussion of writer Halldór Laxness, film maker Benedikt Erlingsson and artist Louisa Matthíasdóttir. The challenge for Lean is to reconcile her training in Art History and the associated narrative of the sublime, with the environmental concerns that she met during this tour, for example the failure of breeding for arctic terns as climate change has left too little food in the surrounding sea.

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