Advertisement
| columbia film and media studies: Feminist Film Studies Janet McCabe, 2005-01-19 An introduction to feminist film theory as a discourse from the early seventies to the present. McCabe traces the broad ranging theories produced by feminist film scholarship, from formalist readings and psychoanalytical approaches to debates initiated by cultural studies, race and queer theory. |
| columbia film and media studies: Postcolonial Studies Meets Media Studies Kai Merten, Lucia Krämer, 2016 This collection brings together experts from media and communication studies with postcolonial studies scholars to illustrate how the two fields may challenge and enrich each other. It encompasses essays on topics including media convergence, transcultural subjectivity, hegemony, piracy, and media history and colonialism. Drawing on examples from film, literature, music, TV, and the internet, the contributors investigate the transnational dimensions of today's media, engage with local and global media politics, and discuss media outlets as economic agents, thus illustrating mechanisms of power in postcolonial and neo-colonial mediascapes. |
| columbia film and media studies: An Annotated Bibliography for Taiwan Film Studies Jim Cheng, James Wicks, Sachie Noguchi, 2016-04-19 Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources. |
| columbia film and media studies: Film Studies Ed Sikov, 2010 American film scholar Ed Sikov discusses all aspects of narrative films, describing mise-en-scéne, the significance of montages, editing, lighting, the use of color and sound, and related topics; and providing practical advice, suggested assignments, and other resources. |
| columbia film and media studies: Cinema/Politics/Philosophy Nico Baumbach, 2018-10-30 Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto “Cinema/Ideology/Criticism,” helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Rancière, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics. |
| columbia film and media studies: Digital Tools in Media Studies Michael Ross, M. Grauer, 2009 Digital tools are increasingly used in media studies, opening up new perspectives for research and analysis, while creating new problems at the same time. In this volume, international media scholars and computer scientists present their projects, varying from powerful film-historical databases to automatic video analysis software, discussing their application of digital tools and reporting on their results. This book is the first publication of its kind and a helpful guide to both media scholars and computer scientists who intend to use digital tools in their research, providing information on applications, standards, and problems. |
| columbia film and media studies: Religion and Film S. Brent Plate, 2017-09-05 Religion and cinema share a capacity for world making, ritualizing, mythologizing, and creating sacred time and space. Through cinematography, mise-en-scène, editing, and other production activities, film takes the world “out there” and refashions it. Religion achieves similar ends by setting apart particular objects and periods of time, telling stories, and gathering people together for communal actions and concentrated focus. The result of both cinema and religious practice is a re-created world: a world of fantasy, a world of ideology, a world we long to live in, or a world we wish to avoid at all costs. Religion and Film introduces readers to both religious studies and film studies by focusing on the formal similarities between cinema and religious practices and on the ways they each re-create the world. Explorations of film show how the cinematic experience relies on similar aesthetic devices on which religious rituals have long relied: sight, sound, the taste of food, the body, and communal experience. Meanwhile, a deeper understanding of the aesthetic nature of religious rituals can alter our understanding of film production. Utilizing terminology and theoretical insights from the study of religion as well as the study of film, Religion and Film shows that by paying attention to the ways films are constructed, we can shed new light on the ways religious myths and rituals are constructed and vice versa. This thoroughly revised and expanded new edition is designed to appeal to the needs of courses in religion as well as film departments. In addition to two new chapters, this edition has been restructured into three distinct sections that offer students and instructors theories and methods for thinking about cinema in ways that more fully connect film studies with religious studies. |
| columbia film and media studies: Columbia Pictures Bernard F. Dick, 2021-10-19 Drawing on previously untapped archival materials including letters, interviews, and more, Bernard F. Dick traces the history of Columbia Pictures, from its beginnings as the CBC Film Sales Company, through the regimes of Harry Cohn and his successors, and ending with a vivid portrait of today's corporate Hollywood. The book offers unique perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, and From Here to Eternity. Following the author's highly readable studio chronicle are fourteen original essays by leading film scholars that follow Columbia's emergence from Poverty Row status to world class, and the stars, films, genres, writers, producers, and directors responsible for its transformation. A new essay on Quentin Tarantino's Once Upon a Time...in Hollywood rounds out the collection and brings this seminal studio history into the 21st century. Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures is the first book to integrate history with criticism of a single studio, and is ideal for film lovers and scholars alike. |
| columbia film and media studies: Chromatic Modernity Sarah Street, Joshua Yumibe, 2019-04-02 The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor—despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture. Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color’s artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L’Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world. |
| columbia film and media studies: Dreaming of Cinema Adam Lowenstein, 2014-11-11 Adam Lowenstein argues that Surrealism's encounter with film can help redefine the meaning of cinematic spectatorship in an era of popular digital entertainment. Video games, YouTube channels, Blu-ray discs, and other forms of ÒnewÓ media have made theatrical cinema seem Òold.Ó A sense of Òcinema lostÓ has accompanied the ascent of digital media, and many worry filmÕs special capacity to record the real is either disappearing or being fundamentally changed by new mediaÕs different technologies. The Surrealist movement offers an ideal platform for resolving these tensions, undermining the claims of cinemaÕs crisis of realism and offering an alternative interpretation of filmÕs aesthetics and function. The Surrealists never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Reading the writing, films, and art of Luis Bu–uel, Salvador Dal’, Man Ray, AndrŽ Breton, AndrŽ Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell, and tracing their influence in the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese Ring (1998); and a YouTube channel devoted to Rock Hudson, this innovative approach puts past and present cinema into conversation to recast the meaning of cinematic spectatorship in the twenty-first century. |
| columbia film and media studies: Bombay Hustle Debashree Mukherjee, 2020-09-22 From starry-eyed fans with dreams of fame to cotton entrepreneurs turned movie moguls, the Bombay film industry has historically energized a range of practices and practitioners, playing a crucial and compelling role in the life of modern India. Bombay Hustle presents an ambitious history of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city. Drawing on original archival research and an innovative transdisciplinary approach, Debashree Mukherjee offers a panoramic portrait of the consolidation of the Bombay film industry during the talkie transition of the 1920s–1940s. In the decades leading up to independence in 1947, Bombay became synonymous with marketplace thrills, industrial strikes, and modernist experimentation. Its burgeoning film industry embodied Bombay’s spirit of “hustle,” gathering together and spewing out the many different energies and emotions that characterized the city. Bombay Hustle examines diverse sites of film production—finance, pre-production paperwork, casting, screenwriting, acting, stunts—to show how speculative excitement jostled against desires for scientific management in an industry premised on the struggle between contingency and control. Mukherjee develops the concept of a “cine-ecology” in order to examine the bodies, technologies, and environments that collectively shaped the production and circulation of cinematic meaning in this time. The book thus brings into view a range of marginalized film workers, their labor and experiences; forgotten film studios, their technical practices and aesthetic visions; and overlooked connections among media practices, geographical particularities, and historical exigencies. |
| columbia film and media studies: Screen Methods Jacqueline Furby, Karen Randell, 2005 'Screen Methods' is a collection of essays that aims to look at the way in which the theory of film studies, an increasingly popular subject at universities, is approached both historically and in the 21st century. |
| columbia film and media studies: Video Revolutions Michael Z. Newman, 2014-04-15 Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In this history, Michael Z. Newman casts video as a medium of shifting value and legitimacy in relation to other media and technologies, particularly film and television. Video has been imagined as more or less authentic or artistic than movies or television, as more or less democratic and participatory, as more or less capable of capturing the real. Techno-utopian rhetoric has repeatedly represented video as a revolutionary medium, promising to solve the problems of the past and the presentÑoften the very problems associated with television and the society shaped by itÑand to deliver a better future. Video has also been seen more negatively, particularly as a threat to movies and their culture. This study considers video as an object of these hopes and fears and builds an approach to thinking about the concept of the medium in terms of cultural status. |
| columbia film and media studies: The Oxford Handbook of Queer Cinema Ronald Gregg, Amy Villarejo, 2021 Queer media is not one thing but an ensemble of at least four moving variables: history, gender and sexuality, geography, and medium. While many scholars would pinpoint the early 1990s as marking the emergence of a cinematic movement (dubbed by B. Ruby Rich, the new queer cinema) in the United States, films and television programs that clearly spoke to LGBTQ themes and viewers existed at many different historical moments and in many different forms. Cross-dressing, same-sex attraction, comedic drag performance: at some points, for example in 1950s television, these were not undercurrents but very prominent aspects of mainstream cultural production. Addressing history not as dots on a progressive spectrum but as a uneven story of struggle, writers on queer cinema in this volume stress how that queer cinema did not appear miraculously at one moment but describes currents throughout the century-long history of the medium. Likewise, while queer is an Anglophone term that has been widely circulated, it by no means names a unified or complete spectrum of sexuality and gender identity, just as the LGBTQ+ alphabet soup struggles to contain the distinctive histories, politics, and cultural productions of trans artists and genderqueer practices. Across the globe, media makers have interrogated identity and desire through the medium of cinema through rubrics that sometimes vigorously oppose the Western embrace of the pejorative term queer, instead foregrounding indigenous genders and sexualities, or those forged in the global South, or those seeking alternative epistemologies. Finally, while cinema is in our title, many scholars in this collection see that term as an encompassing one, referencing cinema and media in a convergent digital environment. The lively and dynamic conversations introduced here aspire to sustain further reflection as queer cinema shifts into new configurations-- |
| columbia film and media studies: The Essay Film After Fact and Fiction Nora M. Alter, 2018-01-02 Nora M. Alter reveals the essay film to be a hybrid genre that fuses the categories of feature, art, and documentary film. Like its literary predecessor, the essay film draws on a variety of forms and approaches; in the process, it fundamentally alters the shape of cinema. The Essay Film After Fact and Fiction locates the genre’s origins in early silent cinema and follows its transformation with the advent of sound, its legitimation in the postwar period, and its multifaceted development at the turn of the millennium. In addition to exploring the broader history of the essay film, Alter addresses the innovative ways contemporary artists such as Martha Rosler, Isaac Julien, Harun Farocki, John Akomfrah, and Hito Steyerl have taken up the essay film in their work. |
| columbia film and media studies: Music and Cinema James Buhler, Caryl Flinn, David Neumeyer, 2000-11 A wide-ranging look at the role of music in film. |
| columbia film and media studies: Documentary Cinema in Israel-Palestine Shirly Bahar, 2021-07-29 Explores the filmed performances of Palestinians and Mizrahim who relate their lived experiences of oppression and pain in Israel/Palestine in documentaries from the first decade of the 2000s. |
| columbia film and media studies: Film in the Post-Media Age Ágnes Pethő, 2012-03-15 Ever since the centenary of cinema there have been intense discussions in the field of film studies about the imminent demise of the cinematic medium, endless articles championing the spirit of genuine cinephilia have proclaimed the death of classical cinema and mourned the end of an era, while new currents in media studies introduced such buzzwords into the discussions as “remediation” (Bolter and Grusin), “media convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the virtual life of film” (Rodowick). By the turn of the millennium, the whole “ecosystem” of media had been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term “medium” has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody’s reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive “cinematic experience” instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? Is it the web video, is it 3D cinema, is it the computer game that operates with moving image narratives, is it the new “vernacular” database, the DVD, or the good old television adjusted to all these new forms? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media “hosts” of moving images? These are only some of the major questions that the theoretical investigation and in-depth analyses in this volume try to answer in an attempt at exploring not the disappearance of cinema but the blooming post-media life of film. |
| columbia film and media studies: Robert Rauschenberg Sara Sinclair, Peter Bearman, Mary Marshall Clark, 2019-08-06 Robert Rauschenberg (1925–2008) was a breaker of boundaries and a consummate collaborator. He used silk-screen prints to reflect on American promise and failure, melded sculpture and painting in works called combines, and collaborated with engineers and scientists to challenge our thinking about art. Through collaborations with John Cage, Merce Cunningham, and others, Rauschenberg bridged the music, dance, and visual-art worlds, inventing a new art for the last half of the twentieth century. Robert Rauschenberg is a work of collaborative oral biography that tells the story of one of the twentieth century’s great artists through a series of interviews with key figures in his life—family, friends, former lovers, professional associates, studio assistants, and collaborators. The oral historian Sara Sinclair artfully puts the narrators’ reminiscences in conversation, with a focus on the relationship between Rauschenberg’s intense social life and his art. The book opens with a prologue by Rauschenberg’s sister and then shifts to New York City’s 1950s and ’60s art scene, populated by the luminaries of abstract expressionism. It follows Rauschenberg’s eventual move to Florida’s Captiva Island and his trips across the globe, illuminating his inner life and its effect on his and others’ art. The narrators share their views on Rauschenberg’s work, explore the curatorial thinking behind exhibitions of his art, and reflect on the impact of the influx of money into the contemporary art market. Included are artists famous in their own right, such as Laurie Anderson and Brice Marden, as well as art-world insiders and lesser-known figures who were part of Rauschenberg’s inner circle. Beyond considering Rauschenberg as an artist, this book reveals him as a man embedded in a series of art worlds over the course of a long and rich life, demonstrating the complex interaction of business and personal, public and private in the creation of great art. |
| columbia film and media studies: U.S. Latino Literatures and Cultures Francisco A. Lomelí, Karin Ikas, 2000 |
| columbia film and media studies: Out of Time David Klass, 2020-07-14 WHAT IF THE MAN YOU'RE TRYING TO STOP IS THE ONE WHO'S TRYING TO SAVE THE WORLD? 'Provocative, important and very thrilling ' JAMES PATTERSON 'A gripping story . . . Klass can weave a tale like few others' DAVID BALDACCI 'Terrific. The plotting is impeccable' SUNDAY TIMES THRILLER OF THE MONTH 'A whale of a ride' OBSERVER ________ An unstoppable terrorist. But not like any that's gone before . . . Each attack he launches targets global threats to the environment. Only one man can stop him. But should he? So gripping you won't stop reading. So original, you won't stop talking about it. This is a thriller like nothing you've read before . . . ________ 'A compelling cat-and-mouse chase' THE TIMES 'A top-notch thriller' WALL STREET JOURNAL |
| columbia film and media studies: The Digital Banal Zara Dinnen, 2018-01-02 Contemporary culture is haunted by its media. Yet in their ubiquity, digital media have become increasingly banal, making it harder for us to register their novelty or the scope of the social changes they have wrought. What do we learn about our media environment when we look closely at the ways novelists and filmmakers narrate and depict banal use of everyday technologies? How do we encounter our own media use in scenes of waiting for e-mail, watching eBay bids, programming as work, and worrying about numbers of social media likes, friends, and followers? Zara Dinnen analyzes a range of prominent contemporary novels, films, and artworks to contend that we live in the condition of the “digital banal,” not noticing the affective and political novelty of our relationship to digital media. Authors like Jennifer Egan, Dave Eggers, Sheila Heti, Jonathan Lethem, Gary Shteyngart, Colson Whitehead, Mark Amerika, Ellen Ullman, and Danica Novgorodoff and films such as The Social Network and Catfish critique and reveal the ways in which digital labor isolates the individual; how the work of programming has become an operation of power; and the continuation of the “Californian ideology,” which has folded the radical into the rote and the imaginary into the mundane. The works of these writers and artists, Dinnen argues, also offer ways of resisting the more troubling aspects of the effects of new technologies, as well as timely methods for seeing the digital banal as a politics of suppression. Bridging the gap between literary studies and media studies, The Digital Banal recovers the shrouded disturbances that can help us recognize and antagonize our media environment. |
| columbia film and media studies: Specters of Slapstick and Silent Film Comediennes Maggie Hennefeld, 2018-03-27 Women explode out of chimneys and melt when sprayed with soda water. Feminist activists play practical jokes to lobby for voting rights, while overworked kitchen maids dismember their limbs to finish their chores on time. In early slapstick films with titles such as Saucy Sue, Mary Jane’s Mishap, Jane on Strike, and The Consequences of Feminism, comediennes exhibit the tensions between joyful laughter and gendered violence. Slapstick comedy often celebrates the exaggeration of make-believe injury. Unlike male clowns, however, these comic actresses use slapstick antics as forms of feminist protest. They spontaneously combust while doing housework, disappear and reappear when sexually assaulted, or transform into men by eating magic seeds—and their absurd metamorphoses evoke the real-life predicaments of female identity in a changing modern world. Specters of Slapstick and Silent Film Comediennes reveals the gender politics of comedy and the comedic potentials of feminism through close consideration of hundreds of silent films. As Maggie Hennefeld argues, comedienne catastrophes provide disturbing but suggestive images for comprehending gendered social upheavals in the early twentieth century. At the same time, slapstick comediennes were crucial to the emergence of film language. Women’s flexible physicality offered filmmakers blank slates for experimenting with the visual and social potentials of cinema. Specters of Slapstick and Silent Film Comediennes poses major challenges to the foundations of our ideas about slapstick comedy and film history, showing how this combustible genre blows open age-old debates about laughter, society, and gender politics. |
| columbia film and media studies: Film and Risk Mette Hjort, 2012-03-15 Scholars of film studies will appreciate this daring and inventive collection, and readers with a general interest in film studies will enjoy its accessible style. |
| columbia film and media studies: When Movies Were Theater William Paul, 2016-05-24 There was a time when seeing a movie meant more than seeing a film. The theater itself shaped the very perception of events on screen. This multilayered history tells the story of American film through the evolution of theater architecture and the surprisingly varied ways movies were shown, ranging from Edison's 1896 projections to the 1968 Cinerama premiere of Stanley Kubrick's 2001. William Paul matches distinct architectural forms to movie styles, showing how cinema's roots in theater influenced business practices, exhibition strategies, and film technologies. |
| columbia film and media studies: Women and Death in Film, Television, and News Joanne Clarke Dillman, 2014-11-26 Dead women litter the visual landscape of the 2000s. In this book, Clarke Dillman explains the contextual environment from which these images have arisen, how the images relate to (and sometimes contradict) the narratives they help to constitute, and the cultural work that dead women perform in visual texts. |
| columbia film and media studies: Religion and Media Hent de Vries, Samuel Weber, 2001 Counter The twenty-five contributors to this volume - who include such influential thinkers as Jacques Derrida, Jean-Luc Nancy, Talal Asad, and James Siegel - confront the conceptual, analytical, and empirical difficulties involved in addressing the complex relationship between religion and media. The book's introductory section offers a prolegomenon to the multiple problems raised by an interdisciplinary approach to these multifaceted phenomena. The essays in the following part provide exemplary approaches to the historical and systematic background to the study of religion and media. The third part presents case studies by anthropologists and scholars of comparative religion. The book concludes with two remarkable documents: a chapter from Theodor W. Adorno's study of the relationship between religion and media in the context of political agitation (The Psychological Technique of Martin Luther Thomas's Radio Addresses) and a section from Niklas Luhmann's monumental Die Gesellschaft der Gesellschaft (Society as a Social System). |
| columbia film and media studies: Star Wars Multiverse Carmelo Esterrich, 2021-08-13 Star Wars may have started out as a film about a Manichean battle between good and evil, but as countless filmmakers, novelists, animators, fan artists and even cosplayers have taken the opportunity to play in the fictional world George Lucas created, it has expanded into something far greater, resulting in a richly layered and diverse Star Wars multiverse. Drawing from a full range of Star Wars media, including comics, children’s books, fan films, and television shows like Clone Wars and The Mandalorian, Carmelo Esterrich explores how these stories set in a galaxy far far away reflect issues that hit closer to home. He examines what they have to say about political oppression, authoritarianism, colonialism, discrimination, xenophobia, and perpetual war. Yet he also investigates subtler ways in which the personal is political within the multiverse, including its articulations of gender and sexuality, its cultural hierarchies of language use, and its complex relationships between humans, droids and myriad species. This book demonstrates that the Star Wars multiverse is not just a stage for thrilling interstellar battles, but also an exciting space for interpretation and discovery. |
| columbia film and media studies: Satyajit Ray on Cinema Satyajit Ray, 2013-04-02 Satyajit Ray, one of the greatest auteurs of twentieth century cinema, was a Bengali motion-picture director, writer, and illustrator who set a new standard for Indian cinema with his Apu Trilogy: Pather Panchali (Song of the Little Road) (1955), Aparajito (The Unvanquished) (1956), and Apur Sansar (The World of Apu) (1959). His work was admired for its humanism, versatility, attention to detail, and skilled use of music. He was also widely praised for his critical and intellectual writings, which mirror his filmmaking in their precision and wide-ranging grasp of history, culture, and aesthetics. Spanning forty years of Ray's career, these essays, for the first time collected in one volume, present the filmmaker's reflections on the art and craft of the cinematic medium and include his thoughts on sentimentalism, mass culture, silent films, the influence of the French New Wave, and the experience of being a successful director. Ray speaks on the difficulty of adapting literary works to screen, the nature of the modern film festival, and the phenomenal contributions of Jean-Luc Godard and the Indian actor, director, producer, and singer Uttam Kumar. The collection also features an excerpt from Ray's diaries and reproduces his sketches of famous film personalities, such as Sergei Eisenstein, Charlie Chaplin, and Akira Kurosawa, in addition to film posters, photographs by and of the artist, film stills, and a filmography. Altogether, the volume relays the full extent of Ray's engagement with film and offers extensive access to the thought of one of the twentieth-century's leading Indian intellectuals. |
| columbia film and media studies: Post-Communist Malaise Zoran Samardzija, 2020-05-15 The collapse of communism in the Soviet Union and Eastern Europe was supposed to bring about the “end of history” with capitalism and liberal democracy achieving decisive victories. Europe would now integrate and reconcile with its past. However, the aftershocks of the financial crisis of 2008—the rise in right-wing populism, austerity politics, and mass migration—have shown that the ideological divisions which haunted Europe in the twentieth century still remain. It is within this context that Post-Communist Malaise revives discourses of political modernism and revisits debates from Marxism and seventies film theory. Analyzing work of Theo Angelopoulos, Věra Chytilová, Srdjan Dragojević, Jean-Luc Godard, Miklós Jancsó, Emir Kusturica, Dušan Makavejev, Cristi Puiu, Jan Švankmajer, Andrei Tarkovsky, and Béla Tarr, the book focuses on how select cinemas from Eastern Europe and the Balkans critique the neoliberal integration of Europe whose failures fuel the rise of nationalism and right-wing politics. By politicizing art cinema from the regions, Post-Communist Malaise asks fundamental questions about film, aesthetics, and ideology. It argues for the utopian potential of the materiality of cinematic time to imagine a new political and cultural organization for Europe. |
| columbia film and media studies: How the Essay Film Thinks Laura Rascaroli, 2017 Today, the essay film has become a key cultural reference point. This book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing. It situates the essayistic urge within processes of filmic thinking that thrive in gaps. |
| columbia film and media studies: Melodrama Unbound Christine Gledhill, Linda Williams, 2018-05-08 For too long melodrama has been associated with outdated and morally simplistic stereotypes of the Victorian stage; for too long film studies has construed it as a singular domestic genre of familial and emotional crises, either subversively excessive or narrowly focused on the dilemmas of women. Drawing on new scholarship in transnational theatrical, film, and cultural histories, this collection demonstrates that melodrama is a transgeneric mode that has long spoken to fundamental aspects of modern life and feeling. Pointing to melodrama’s roots in the ancient Greek combination of melos and drama, and to medieval Christian iconography focused on the pathos of Christ as suffering human body, the volume highlights the importance to modernity of melodrama as a mode of emotional dramaturgy, the social and aesthetic conditions for which emerged long before the French Revolution. Contributors articulate new ways of thinking about melodrama that underscore its pervasiveness across national cultures and in a variety of genres. They examine how melodrama has traveled to and been transformed in India, China, Japan, and South America, whether through colonial circuits or later, globalization; how melodrama mixes with other modes such as romance, comedy, and realism; and finally how melodrama has modernized the dramatic functions of gender, class, and race by orchestrating vital aesthetic and emotional experiences for diverse audiences. |
| columbia film and media studies: On the Screen Ariel Rogers, 2019-07-30 Today, in a world of smartphones, tablets, and computers, screens are a pervasive part of daily life. Yet a multiplicity of screens has been integral to the media landscape since cinema’s golden age. In On the Screen, Ariel Rogers rethinks the history of moving images by exploring how experiments with screen technologies in and around the 1930s changed the way films were produced, exhibited, and experienced. Marshalling extensive archival research, Rogers reveals the role screens played at the height of the era of “classical” Hollywood cinema. She shows how filmmakers, technicians, architects, and exhibitors employed a variety of screens within diverse spaces, including studio soundstages, theaters, homes, stores, and train stations. Far from inert, screens served as means of structuring mediated space and time, contributing to the transformations of modern culture. On the Screen demonstrates how particular approaches to the use of screens traversed production and exhibition, theatrical and extratheatrical practice, mainstream and avant-garde modes, and even cinema and television. Rogers’s history challenges conventional narratives about the novelty of the twenty-first-century multiscreen environment, showing how attention to the variety of historical screen practices opens up new ways to understand contemporary media. |
| columbia film and media studies: Photo Poetics Shengqing Wu, 2020-12-08 Chinese poetry has a long history of interaction with the visual arts. Classical aesthetic thought held that painting, calligraphy, and poetry were cross-fertilizing and mutually enriching. What happened when the Chinese poetic tradition encountered photography, a transformative technology and presumably realistic medium that reshaped seeing and representing the world? Shengqing Wu explores how the new medium of photography was transformed by Chinese aesthetic culture. She details the complex negotiations between poetry and photography in the late Qing and early Republican eras, examining the ways traditional textual forms collaborated with the new visual culture. Drawing on extensive archival research into illustrated magazines, poetry collections, and vintage photographs, Photo Poetics analyzes a wide range of practices and genres, including self-representation in portrait photography; gifts of inscribed photographs; mass-media circulation of images of beautiful women; and photography of ghosts, immortals, and imagined landscapes. Wu argues that the Chinese lyrical tradition provided rich resources for artistic creativity, self-expression, and embodied experience in the face of an increasingly technological and image-oriented society. An interdisciplinary study spanning literary studies, visual culture, and media history, Photo Poetics is an original account of media culture in early twentieth-century China and the formation of Chinese literary and visual modernities. |
| columbia film and media studies: Oxford English Dictionary John A. Simpson, 2002-04-18 The Oxford English Dictionary is the internationally recognized authority on the evolution of the English language from 1150 to the present day. The Dictionary defines over 500,000 words, making it an unsurpassed guide to the meaning, pronunciation, and history of the English language. This new upgrade version of The Oxford English Dictionary Second Edition on CD-ROM offers unparalleled access to the world's most important reference work for the English language. The text of this version has been augmented with the inclusion of the Oxford English Dictionary Additions Series (Volumes 1-3), published in 1993 and 1997, the Bibliography to the Second Edition, and other ancillary material. System requirements: PC with minimum 200 MHz Pentium-class processor; 32 MB RAM (64 MB recommended); 16-speed CD-ROM drive (32-speed recommended); Windows 95, 98, Me, NT, 200, or XP (Local administrator rights are required to install and open the OED for the first time on a PC running Windows NT 4 and to install and run the OED on Windows 2000 and XP); 1.1 GB hard disk space to run the OED from the CD-ROM and 1.7 GB to install the CD-ROM to the hard disk: SVGA monitor: 800 x 600 pixels: 16-bit (64k, high color) setting recommended. Please note: for the upgrade, installation requires the use of the OED CD-ROM v2.0. |
| columbia film and media studies: Internationalizing Media Studies Daya Kishan Thussu, 2009-05-15 This collection of essays by leading scholars from around the world aims to stimulate a debate about the imperatives for internationalizing media studies, and provides much-needed material on the dynamics of the media studies field in a global context. Lively and current case studies are included within the essays to exemplify the main arguments. |
| columbia film and media studies: The Columbia Companion to American History on Film Peter C. Rollins, 2003 More than 70 scholars examine how filmmakers have presented and interpreted the most important events, topics, eras and figures in the American past, often comparing the film versions of events with the interpretations of the best historians who have explored the topic. |
| columbia film and media studies: Poetics of Liveliness Ada Smailbegović, 2021-10-29 Can poetry act as an aesthetic amplification device, akin to a microscope, through which we can sense minute or nearly imperceptible phenomena such as the folding of molecules into their three-dimensional shapes, the transformations that make up the life cycle of a silkworm, or the vaporous movements that constitute the ever-shifting edges of clouds? We tend to think of these subjects as reserved for science, but, as Ada Smailbegović argues, twentieth- and twenty-first-century writers have intermingled scientific methodologies with poetic form to reveal unfolding processes of change. Their works can be envisioned as laboratories within which the methodologies of experimentation, natural historical description, and taxonomic classification allow poetic language to register the rhythms and durations of material transformation. Poetics of Liveliness moves across scales to explore the realms of molecules, fibers, tissues, and clouds. It investigates works such as Christian Bök’s insertion of a poetic text into the DNA code of living bacteria in order to generate a new poem in the shape of a protein molecule, Jen Bervin’s considerations of silk fibers and their use in biomedicine, Gertrude Stein’s examination of brain tissues in medical school and its subsequent influence on her literary taxonomies of character, and Lisa Robertson’s studies of nineteenth-century meteorology and the soft architecture of clouds. In their attempt to understand physical processes unfolding within lively material worlds, Smailbegović contends, these poets have developed a distinctive materialist poetics. Structured as a poetic cosmology akin to Lucretius’s “On the Nature of Things,” which begins at the atomic level and expands out to the vastness of the universe, Poetics of Liveliness provides an innovative and surprising vision of the relationship between science and poetry. |
| columbia film and media studies: Arnheim for Film and Media Studies Scott Higgins, 2010-10-18 Rudolf Arnheim (1904-2007) was a pioneering figure in film studies, best known for his landmark book on silent cinema Film as Art. He ultimately became more famous as a scholar in the fields of art and art history, largely abandoning his theoretical work on cinema. However, his later aesthetic theories on form, perception and emotion should play an important role in contemporary film and media studies. In this enlightening new volume in the AFI Film Readers series, an international group of leading scholars revisits Arnheim’s legacy for film and media studies. In fourteen essays, the contributors bring Arnheim’s later work on the visual arts to bear on film and media, while also reassessing the implications of his film theory to help refine our grasp of Film as Art and related texts. The contributors discuss a broad range topics including Arnheim’s film writings in relation to modernism, his antipathy to sound as well as color in film, the formation of his early ideas on film against the social and political backdrop of the day, the wider uses of his methodology, and the implications of his work for digital media. This is essential reading for any film and media student or scholar seeking to understand the meaning and contemporary impact of Arnheim’s foundational work in film theory and aesthetics. |
| columbia film and media studies: Screening Statues Steven Jacobs, 2018-04-30 A dynamic, scholarly engagement with Susanne Bier's work |
Outdoor Clothing, Outerwear & Accessories | Columbia Sport…
Columbia makes innovative clothing & footwear for all your outdoor adventures. Get Lost Anywhere: 25 …
New Arrivals - Outdoor Clothing - Columbia Sportswear
Find the latest arrivals in Columbia Sportswear's line of rugged outerwear, footwear & outdoor accessories. 25 …
Sale - Columbia Sportswear
Great deals on Columbia jackets, shirts, pants and more. Take advantage of marked down prices while they last. …
Women's Clothing - Columbia Sportswear
Columbia Greater Rewards Ambassadors Lunar Landing Search. Quicklinks 25-40% Off Almost …
Columbia Factory Store at Outlets at Orange - Columbia …
Our Columbia factory store is located in Orange, California at the Outlets at Orange. We carry innovative …
Outdoor Clothing, Outerwear & Accessories | Columbia Sportswear
Columbia makes innovative clothing & footwear for all your outdoor adventures. Get Lost Anywhere: 25-40% off almost everything.
New Arrivals - Outdoor Clothing - Columbia Sportswear
Find the latest arrivals in Columbia Sportswear's line of rugged outerwear, footwear & outdoor accessories. 25-40% off almost everything.
Sale - Columbia Sportswear
Great deals on Columbia jackets, shirts, pants and more. Take advantage of marked down prices while they last. 25-40% off almost everything.
Women's Clothing - Columbia Sportswear
Columbia Greater Rewards Ambassadors Lunar Landing Search. Quicklinks 25-40% Off Almost Everything Father's Day Summer New Arrivals Sun Protection Shorts Tamiami Login. Mini …
Columbia Factory Store at Outlets at Orange - Columbia Sportswear
Our Columbia factory store is located in Orange, California at the Outlets at Orange. We carry innovative outerwear, sportswear, footwear, and accessories for outdoor enthusiasts of all …
Men's Clothing - Hiking Clothing & Accessories - Columbia …
Columbia Greater Rewards Ambassadors Lunar Landing Search. Quicklinks 25-40% Off Almost Everything Father's Day Summer New Arrivals Sun Protection Shorts Tamiami Login. Mini …
Columbia Sportswear | Locations
Find a Columbia Sportswear location near you. spacer. Shop. Columbia 166 stores in United States. Find a Location. All stores; Alabama (1) Arizona (3) California (22) Colorado (6) …
Shop Women's Clothing - Columbia Sportswear
Shop Columbia's full selection of women's clothing and accessories, including jackets, shirts, pants, shoes, and more. 25-40% off almost everything.
Web Deals - Online Deals - Columbia Sportswear
Shop online through the official Columbia Sportswear website. Find men's jackets, shoes, men's boots, pants, fleece sweaters and shirts.
Columbia Sportswear | Miami, Florida
Columbia 1 store in Miami. Find a Location. All stores; Florida; Miami; Columbia Factory Store. Open Now closes at 9:00 PM. 11401 Northwest 12th Street. Ste 336. Miami, FL 33172. US …
