Raw Video: Tsunami Arrives, People Flee. 425 Children Die as Gas Explosion Shatters School - TAMI. Believed to have been filmed by Hugh Jamieson, this newsreel covers the tragic events of the New London School Explosion that occurred on March 18, 1937 when a massive gas explosion destroyed the New London Junior-Senior High School, killing an estimated 298 students, teachers, and visitors.
As a result of the explosion, legislation was passed requiring an odor to be added to natural gas so that leaks may be detected. On March 18, 1937 at 3:20 p.m., ten minutes before the final bell of the school day, a massive explosion destroyed the New London Junior-Senior High School, killing an estimated 298 students, teachers, and visitors. The newly-built New London School in northwest Rusk County was the pride of the London School District, which was one of the wealthiest school districts in the nation. Annie Hall. Marshall McLuhan: The Medium is the Message.
Hugo, Remediation, and the Cinema of Attractions, or, The Adaptation of Hugo Cabret. It’s obvious that Martin Scorsese’s movie Hugo (2011) showcases its director’s great love of cinema and cinema history.
Less obvious, perhaps, is the film’s love of books. Hugo adapts Brian Selznick’s bestselling children’s novel, The Invention of Hugo Cabret, which won the 2008 Caldecott Medal for best children’s illustrations. The relationship between film and novel poses an especially interesting case for students of adaptation; the book is itself fascinated by early cinema and the unusual number of its illustrations – and the extent to which illustrations help tell the story, in collaboration with the text – help make the novel seem almost cinematic, an impression reinforced by the number of stills used in the book to help bring the reader into the characters’ experiences of movie watching. Such a construction seems appropriate for a movie that adapts a novel that is itself a kind of adaptation of one element of movie history to the form of a semi-graphic novel. STELARC - STRP BIENNALE 2013. The New Film History as Media Archaeology. Introduction For more than two decades now, it has become commonplace to discuss the cinema in terms that acknowledge its function as a medium that has introduced a universally comprehensible and yet deeply contradictory logic of the visible.
So ubiquitous is the moving image in our urban environment that its impact cannot simply be located in individual films, however many canons of cult classics or masterpieces we choose to construct. In making much of human life and history “visible,” the cinema has also created new domains of the “invisible.” Key elements of cinematic perception have become internalised as our modes of cognition and embodied experience, such that the “cinema effect” may be most present where its apparatus and technologies are least perceptible.
Remediation and Confusion. Studies of the Remediation of Films, Comics and Video Games.