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Film Studies For Free

Film Studies For Free
Links added on February 25, 2014 A short film that searches for Jesse and Celine in Vienna on Bloomsday, 16 June 2013. As their absence reveals the city, so this pilgrimage to places they have been becomes lost in time, and an homage to three films of flânerie: Before Sunrise, Sans soleil and En la ciudad de Sylvia. It's been a rather slow start to the year here at Film Studies For Free, with lots of other (exciting) projects diverting attention from this little URL to date (more about those soon). But FSFF is back with a wonderful (and generous) guest entry by Rob Stone, Professor of Film, Chair of European Film and Director of B-Film: The Birmingham Centre for Film Studies.

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Observations on film art The Adventures of Prince Achmed. Kristin (with some help from David) here: David and I have been offering this greatest-of-90-years-ago series almost as long as this blog has existed. For earlier annual entries, see 1917, 1918, 1919, 1920, 1921, 1922, 1923, 1924, and 1925. I approached 1926 with the assumption that it would present a crowded field of masterpieces; surely it would be difficult to choose ten best films. Mad About the Boys Until he fled the country in January, accused of embezzling more than $300 million, Lou Pearlman was famous as the impresario behind the Backstreet Boys and 'NSync. Turns out his investors weren't the only victims, colleagues reveal: Pearlman's passion for boy bands was also a passion for boys. The crowds began gathering outside Orlando's Church Street Station complex early on a sweltering June morning, waiting in line to wander through the abandoned offices of the unlikely multi-millionaire who had transformed this central Florida city into a music-industry mecca. Lou Pearlman, the rotund impresario who created the Backstreet Boys and 'NSync and guided the early recording careers of Justin Timberlake and scores of other young singers, had been an international celebrity, a popular, easygoing local businessman known as "Big Poppa."

Free MIT Course Teaches You to Watch Movies Like a Critic: Watch Lectures from The Film Experience We all have our favorite film critics. Maybe we gravitated to them because they write well or because they share our tastes, but the very best of them — the critics we read even on genres and directors we otherwise wouldn’t care about — make us see movies in a new way. Specifically, they make us see them the way they do, and the point of view of a professional critic steeped in cinema history and theory (not to mention the thousands and thousands of hours of actual film they’ve watched) will always have a richness that the casual moviegoer can’t hope to enjoy on his/her own. Unless, of course, you take The Film Experience, a 23-lecture course from the Massachusetts Institute of Technology. And you don’t need to enroll at MIT — or even show up and surreptitiously audit — to take it, since the school has made those lectures, their accompanying materials, and even supplemental media (just like the DVD extras that have inspired a generation of cinephiles) free on their OpenCourseWare site.

Critical Studies in Television - Scholarly Studies for Small Screen Fiction News, Reviews & Commentary on Lesbian and Bisexual women in Entertainment and the Media. Arab Media and Society ACROSS THE SPECTRUM: COLOR THEORY IN FILM Second only to sound, color is the single-most important addition to motion pictures. They even give significance to the format that came before them, augmenting black-and-white films into a new, more artistic realm than they’d been considered when they were the only option cinemagoers had. Color conveys emotion, tone, atmosphere, it hints at romance, danger, salvation, and tragedy. Color is a character the same way sound, setting, and framing are, one of the silent players whose lack is unimaginable.

Dumb Ways to Die: 10 great Australian adverts When I say I’m a copywriter people often ask if it’s just like being Peggy Olson in Mad Men. I'm never sure how to answer that: I haven’t seen Mad Men, probably because I’m usually at the office, writing copy. It's this kind of single-minded obsession that means advertising folk value nothing more than a good backpat; reassurance that the long nights and bad dinners are worth it. And the biggest backpat of all is Cannes. The Cannes Lions Festival of Creativity (which weirdly omits the word advertising) has just come to a close. It’s the less glamorous, more mercenary sister to the famous film festival, and its winners represent the very best of the year’s ads, digital whatsits, flashmobs and anything else that today’s Mad Men will conceive to flog detergent.

The Largest Ever Analysis of Film Dialogue by Gender: 2,000 scripts, 25,000 actors, 4 million lines Film Dialogue from 2,000 screenplays, Broken Down by Gender and Age Lately, Hollywood has been taking so much shit for rampant sexism and racism. The prevailing theme: white men dominate movie roles. But it’s all rhetoric and no data, which gets us nowhere in terms of having an informed discussion. How many movies are actually about men? Defining Documentary Film Raising a question When I ask the students in my film classes at the university if they can define or at least somehow describe what makes a film a documentary, they usually come up with answers like this: "It is a type of film that is based on the real world and real people, depicting things as they are or telling about historical events in a supposedly truthful or objective manner." Or they say that it has to do with a certain realism of style and that it is "filming on some real location without actors, artificial props or a pre-constructed narrative." Sometimes they also just cite the title of a classic book on the subject saying that it is "representing reality." [1] And often enough, Danish students go on to talk a lot about "facts" and "truth" as a necessary condition for non-fiction film. Some smart guy may even suggest that it is nothing but the opposite of fiction. Definitions can be of many sorts, depending on how strict we want to be.

Storytelling: Summary and Forum Definition Storytelling. Description. Storytelling is the ancient art of portraying real or fictitious events in words, images, and sounds. People in all times and places have told stories and storytelling is even considered to be a fundamental aspect of humanity. But a conscious narrative approach with a business purpose, to such things as strategy formulation, organizational transformation, knowledge management, corporate identity formulation, marketing mechanism and as a leadership style is still relatively new. Although it clearly is a very effective way to influence, engage, motivate and spark people into action. Screening Notes: The Prestige (analysis) The following is a close reading of Chistopher Nolan's masterpiece The Prestige (2006) based on Todd McGowan's amazing analysis in the relevant chapter of his book The Fictional Christopher Nolan. You don't have to read the book to understand what I'm about to say since my article is meant to stand on its own feet. I just wanted to acknowledge my inspiration in this regard since Todd has been and continues to be my biggest influence in the world of film theory.

Black Bonds, Annie and OITNB: How Film and TV Representation limits, liberates, and moulds People of Colour by Otamere Guobadia Follow @otamere In the wake of the Sony Leaks and the ‘Annie’ reboot starring Quvenzhané Wallis, the Black Bond debate, questions of representation have received renewed interest. A Sony executive expressed the desire that the phenomenal Idris Elba, the Golden Globe and Emmy nominated black actor known for his nuanced and brilliant performances be Daniel Craig’s successor. Much of the dissent, however, has come from people who fervently believe that Bond’s whiteness is somehow central to his character’s identity, and thus to recast him as black would be a gross act of cultural erasure. White online commenters, such as those on the Mail Online, have once again shown a distinct lack of self-awareness.

The lost art of story telling? So, we know that it’s not really good for us to get stuck in our drama, to connect with it or share it. We know that it can keep us stuck. It can deplete our energies and the energies of those around us. My concern is not about removing ourselves from our drama but the growing amount of people I hear and witness talking about removing ourselves completley from our stories before they have even been heard.I disagree with this completely. The Filmmaking Process Principles of Filmmaking The filmmaking process is generally divided into three specific segments: pre-production, production, and post-production. The guides below contain a plethora of information on the principles of each.