scholarly journals Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love”

2019 ◽  
Vol 24 (33) ◽  
pp. 129-136
Author(s):  
Tadeusz Lubelski
Keyword(s):  
Full Length ◽  
Feature Film ◽  
First Child ◽  
Fictitious Character ◽  
Creative Experience ◽  
Main Protagonist

The article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’.

Narrative

2020 ◽  
pp. 36-61
Author(s):  
Gary D. Rhodes ◽  
Robert Singer
Keyword(s):  
Life Story ◽  
Full Length ◽  
Television Commercials ◽  
Television Commercial ◽  
Feature Film ◽  
Narrative Forms ◽  
Tv Commercial ◽  
Narrative Framework

To explore these issues in-depth, Chapter 2 covers narrative, specifically examining how television commercials operate in terms of Scene, Genre, Cross-Genre, and the Remake. This chapter contends that the narrative framework for producing the television commercial is arguably, shot by shot, second to second, as frequently creative as a full-length feature film. Some commercials utilize cinematic narrative forms of Hollywood; others diverge from the same. The product and its “message” might be realistic or wholly fantastic; nevertheless, the TV commercial is indeed a narrative, a critically substantial formation, whether it unfolds in the form of a slice-of-life story or a presentational style pitch.

Spaces of History and Memory: The Works on the Anti-Rightist Campaign

2021 ◽  
Author(s):  
Elena Pollacchi
Keyword(s):  
Full Length ◽  
Close Reading ◽  
Historical Injustice ◽  
History And Memory ◽  
Feature Film ◽  
Central Concern ◽  
Dead Souls ◽  
Mature Work

This chapter approaches history as a central concern in Wang Bing’s filmmaking. It deals with spaces of history and memory, in particular in relation to the Anti-Rightist Campaign of 1957–59. It highlights Wang’s interest in unveiling the gaps and the contradictions imbued in state narratives at different epochs. A close reading of Wang’s only full-length feature film so far The Ditch (2010) and a comparative reading of it with Pier Paolo Pasolini’s Salò (1975) are given in the first section of the chapter. The second section focuses on Wang’s mature work Dead Souls (2018) as a visual archive of witnesses on the campaign and as a way to testify to historical injustice, also recalling Claude Lanzmann’s Shoah (1985).

“The Road to Oz”

2018 ◽  
pp. 27-52
Author(s):  
Benjamin Sears
Keyword(s):  
Full Length ◽  
Original Novel ◽  
Feature Film ◽  
The Road ◽  
New Interpretation

This chapter discusses the adaptation of the script for the MGM film, focusing on the conversion of the original novel to a full-length feature film and addressing the issues faced by changing medium. It looks at alterations made to the story, including the deletion of episodes in the book for the film, and changes in (and deletions of) characters from novel to film. The chapter explores the use of music to enhance the fantasy aspect of the film and the musical conventions used such as introductory songs for Dorothy’s three companions. Although the film is a new interpretation, it retains the sense of a magical world that made the Baum books so popular.

An Evolving Model of the Use of Feature Films in Undergraduate and Graduate Business Curriculum: The Education Awakens

2018 ◽  
Vol 9 (7) ◽  
pp. 555-565
Author(s):  
Catherine Giunta ◽  
Keyword(s):  
Student Perceptions ◽  
Business Education ◽  
Business Students ◽  
Full Length ◽  
Business Curriculum ◽  
Feature Film ◽  
Feature Films ◽  
Evolving Model ◽  
Graduate Business Education

This paper/exploratory analysis presents an evolving model for enhancing the use of full-length, feature film as a tool in undergraduate and graduate business curriculum. This model includes processes for determination of student perceptions of the efficacy of the use of feature film to teach business, including marketing and human resources competencies. Therefore, this work considers student perceptions of the use of film in undergraduate and graduate business education and their final outcomes. Awareness of students' views of this tool can be valuable information during the design of business curriculum. To date, limited research has coupled the business students’ perceptions of film in business curriculum along with implementation of feature films in business pedagogy. Therefore, the evolution of a working model aims to contribute to the understanding of students' expectations when film is used in business curriculum. There is a dearth of literature that covers the use of popular, full-length films in Marketing and in MBA Human Resource courses. This paper helps to fill that gap.

scholarly journals Seeing Double: The Process of Script Adaptation between Theatre and Film

2021 ◽  
Author(s):  
◽  
Gavin Rodney McGibbon
Keyword(s):  
Full Length ◽  
The Other ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Critical Component ◽  
Feature Film ◽  
Stage Adaptations ◽  
Significant Change ◽  
Film Scripts

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre.  The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film.  The thesis concludes with discussion of the decisions I made when adapting my own scripts.  This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium.  This thesis also proposes a set of adaptation principles for script adaptors.</p>

scholarly journals Seeing Double: The Process of Script Adaptation between Theatre and Film

2021 ◽  
Author(s):  
◽  
Gavin Rodney McGibbon
Keyword(s):  
Full Length ◽  
The Other ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Critical Component ◽  
Feature Film ◽  
Stage Adaptations ◽  
Significant Change ◽  
Film Scripts

<p>This thesis examines the adaptation of stage plays to cinema, and of films to theatre. The creative component of the thesis consists of my full-length play script Hamlet Dies At The End, and the script of its feature film adaptation (Song’s End), plus material from my film script Roy Jiminton and the script of its adaptation to theatre.  The critical component of this thesis examines seven stage-to-film adaptations and four film-to-stage adaptations, in order to illustrate the distinctions between writing for the two different mediums and to suggest principles to aid scriptwriters in adapting material between theatre and film.  The thesis concludes with discussion of the decisions I made when adapting my own scripts.  This thesis argues that to successfully adapt play or film scripts from one medium to the other, the adaptor must be willing to incorporate significant change in order to effectively ‘adapt’. Adaptations that merely transpose from the stage onto the screen, or vice versa, fail to engage with their new medium.  This thesis also proposes a set of adaptation principles for script adaptors.</p>

In Situ Localization of PPAR Gamma and Uncoupling Protein in Mouse Embryo Sections Using Digoxigenin-Labeled Riboprobes

1996 ◽  
Vol 54 ◽  
pp. 32-33
Author(s):  
C. Jennermann ◽  
S. A. Kliewer ◽  
D. C. Morris
Keyword(s):  
Alkaline Phosphatase ◽  
Room Temperature ◽  
Uncoupling Protein ◽  
Ppar Gamma ◽  
Nuclear Hormone Receptor ◽  
Full Length ◽  
Northern Analysis ◽  
Peroxisome Proliferator

Peroxisome proliferator-activated receptor gamma (PPARg) is a member of the nuclear hormone receptor superfamily and has been shown in vitro to regulate genes involved in lipid metabolism and adipocyte differentiation. By Northern analysis, we and other researchers have shown that expression of this receptor predominates in adipose tissue in adult mice, and appears first in whole-embryo mRNA at 13.5 days postconception. In situ hybridization was used to find out in which developing tissues PPARg is specifically expressed.Digoxigenin-labeled riboprobes were generated using the Genius™ 4 RNA Labeling Kit from Boehringer Mannheim. Full length PPAR gamma, obtained by PCR from mouse liver cDNA, was inserted into pBluescript SK and used as template for the transcription reaction. Probes of average size 200 base pairs were made by partial alkaline hydrolysis of the full length transcripts. The in situ hybridization assays were performed as described previously with some modifications. Frozen sections (10 μm thick) of day 18 mouse embryos were cut, fixed with 4% paraformaldehyde and acetylated with 0.25% acetic anhydride in 1.0M triethanolamine buffer. The sections were incubated for 2 hours at room temperature in pre-hybridization buffer, and were then hybridized with a probe concentration of 200μg per ml at 70° C, overnight in a humidified chamber. Following stringent washes in SSC buffers, the immunological detection steps were performed at room temperature. The alkaline phosphatase labeled, anti-digoxigenin antibody and detection buffers were purchased from Boehringer Mannheim. The sections were treated with a blocking buffer for one hour and incubated with antibody solution at a 1:5000 dilution for 2 hours, both at room temperature. Colored precipitate was formed by exposure to the alkaline phosphatase substrate nitrobluetetrazoliumchloride/ bromo-chloroindlylphosphate.

Review of Conflict and power in marriage: Expecting the first child.

1978 ◽  
Vol 23 (6) ◽  
pp. 470-470
Author(s):  
HENRY P. DAVID
Keyword(s):  
First Child
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