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).

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.

Cinematic Spaces of ‘the Arab Street’ : Mohamed Diab’s Inverted Road Movie Clash (2016)

2021 ◽  
Author(s):  
Alena Strohmaier
Keyword(s):  
Middle East ◽  
North Africa ◽  
Close Reading ◽  
Feature Film ◽  
Mise En Scene ◽  
Cinematic Space

This chapter examines how cinema challenges and inverts traditional spaces of social upheavals, such as streets and squares, in their capacity to be spaces of knowledge and solidarity, in conceptualizing them as enhanced media-sensible spaces. Through a close reading of Mohamed Diab’s feature film Clash (2016), I foreground the idea of the truck as a cinematic space predicated on its ability to accommodate movement, both in a literal and a metaphorical sense. This allows for a discussion of cinematic spaces of the so-called ‘Arab street’, created by both mise en scène and cinematography that go against the more prevalent images of street fights and mass demonstrations as seen in documentaries about the popular upheavals in the Middle East and North Africa region since 2009.

scholarly journals La forma de la falacia. Una relectura del tópico de la cetrería en la novela Nocturno de Chile de Roberto Bolaño

2020 ◽  
Vol 27 ◽  
pp. 221-233
Author(s):  
Aleksander Trojanowski
Keyword(s):  
Latin America ◽  
Critical Reception ◽  
Close Reading ◽  
The Novel ◽  
Formal Aspect ◽  
Traditional Methods ◽  
History And Memory ◽  
Narrative Technique ◽  
Roberto Bolano

The form of fallacy. A rereading of the falconry motif in Roberto Bolaño’s Nocturno de ChileThe aim of the article is a rereading of the falconry motif in Roberto Bolaño’s novel Nocturno de Chile, based on an analysis of the critical reception existing so far. The study combines the traditional methods of narratology with a close-reading-orientated approach on the textual, narrative and intertextual level. As a result, the formal aspect of the novel, based on the techniques of incongruity and indetermination, is seen as a narrative tool to discredit the fallacies of the narrator’s monologue. By positioning the allegoric and symbolic readings of the motif in the context of the narrative technique, it seems that the main focus of the novel is a deconstruction of the testimonial mode of enunciation and, as a consequence, a critical revaluation of the actual debate on the history and memory in Chile and Latin America.

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’.

“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.

‘A matter of skin’: Chantal Akerman’s ‘porous narratives’

2019 ◽  
Vol 8 (1) ◽  
pp. 82-95
Author(s):  
Maud Jacquin
Keyword(s):  
Virginia Woolf ◽  
The Political ◽  
Maternal Grandmother ◽  
Video Installation ◽  
History And Memory ◽  
Feature Film ◽  
Thematic Content ◽  
Political Implications ◽  
Documentary Video ◽  
Chantal Akerman

In 2004, Chantal Akerman created two works – a feature film Tomorrow We Move (Akerman, 2004) and a video installation To Walk Next to One’s Shoelaces in an Empty Fridge (Akerman, 2004) – which feature the diary that her Jewish maternal grandmother had kept before dying at Auschwitz. Prompted by the contradictions manifest in the installation (spontaneity vs control; uniqueness vs familiarity), I will argue for an intricate interrelation between the documentary video and the fiction film. In relation to the thematic content of both works, I will subsequently demonstrate that the ‘porous’ form of narrative that this assemblage generates allows Akerman to challenge and transform dominant conceptions of storytelling, identity, history and memory. In particular, through analysing the modes of writing she portrays in both films in relation to Virginia Woolf ’s work, I will contend that Akerman is deeply aware of the political implications of thinking porously.

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>

Metabolic Drift

2020 ◽  
pp. 100-115
Author(s):  
Thomas Nail
Keyword(s):  
Value Creation ◽  
Close Reading ◽  
Starting Point ◽  
Theory Of Value ◽  
Mature Work

This chapter contains two parts. The first shows the continuity of the concept of metabolism with other key ideas in Marx’s work from his dissertation leading up to Capital. Again, a close reading of Marx’s dissertation can help offer a new rereading of key ideas in his mature work. This unique starting point provides the larger conceptual context for seeing how the concept of metabolism works in Marx’s theory of value. The second, and much larger, part shows precisely how the concept of a “metabolic drift” supports thinking on the twofold movement of appropriation and value creation.

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