Wednesday, March 4.
Monday, March Wednesday, March Monday March Nadia Seremetakis ed. Seigworth ed. Chile Session T Mitchel and Mark B. N Hansen ed. Japan Session Wednesday, April 1. Monday, April 6. Romania Session Wednesday, April 8.
Issue 22 — February 2012
Monday, April We will meet from 4. Related Papers. By Jihoon Kim. By Terrance H.
Realism in European Cinemas syllabus. Sometimes the conversations were in person, and in other instances they involved repeated reviewings of films, as well as rereadings and rethinkings of theoretical texts and arguments.
Crash: Cinema and the Politics of Speed and Stasis | Penn History of Art
Many years ago, I was fortunate enough to have the chance to teach a course on contemporary literature as an assistant to the poet and scholar Craig Dworkin, from whom I learned an incredible amount. Through conversations with Craig, and through listening to his lectures, I began to think about how one moves between theoretical discourses like feminist and queer theory and formally experimental work that comes out of the avant-garde traditions, work that often takes women as sites rather than agents of experimentation. Around the same time, the art historian Branden W.
Joseph was co-organizing a conference on Pop art, architecture and literature of the s, and he invited me to present a paper on literary pop. The film was introduced by the late Callie Angell, who, from that moment on, gave incredibly helpful advice and suggestions for the book—not just for the Warhol chapter, but also for the larger project of understanding how this trope has functioned in diverse ways throughout the history of film.
By this point, I was teaching at the University of Rochester, and my own methodological approach was developing in part through conversations with Douglas Crimp about queer theory on the one hand, and with Sharon Willis about feminist film theory on the other. Please follow the detailed Help center instructions to transfer the files to supported eReaders.
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Animating Film Theory. Karen Redrobe. Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia.
The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously.
Karen Beckman's on Resnais and the Graphic Image
The Cambridge Introduction to Narrative: Edition 2. Porter Abbott. What is narrative?
How does it work and how does it shape our lives and the texts we read? Porter Abbott emphasizes that narrative is found not just in literature, film, and theater, but everywhere in the ordinary course of people's lives.