What\u27s News @ Rhode Island College

Commemorates historic desegregation case -- RIC\u27s Kopec named \u27Designer of the Year\u27 by CASE -- Fellowships: Funds for professional development -- Dinner meeting lecture May 3 -- Governor\u27s Summer Program of Science and Math a first for state -- B.O.G Fellow Program taking applications -- Is there humor after the bomb? -- Seminar on diving safety -- Appreciation award for Bierden -- Burned out: many college presidents have to quit -- Number of women college presidents rises 70% -- Old Stone rep to speak -- Sixth annual Rita V. Bicho Concert here May 7 -- Lederberg to address new Council for Children May 7 -- Calendar of Events --https://digitalcommons.ric.edu/whats_news/1263/thumbnail.jp

Hitchcock, Tati and Leone: style, narrative and directorial approaches in mainstream cinema and their relationship to contemporary screen-dance practice.

A thesis submitted to the University of Bedfordshire, in partial fulfilment of the requirements for the degree of Master of Science by Research.This research recommends the style, narrative and directorial approaches of Alfred Hitchcock, Jaques Tati and Sergio Leone as a relevant point of reference for current screen-dance practice. Their specific cinematic authored models were tested in order to determine whether the framework could provide a flexible enough methodology for the making and producing of effective screen-dance, and in the hopes of providing new pathways for the researcher’s screen-dance practice. The cinematic authors selected for scrutiny were Alfred Hitchcock, Jaques Tati, and Sergio Leone. The criterion for this selection was determined by the directors’ stylistic and narrative preferences, and democratic approaches to sound and image making. Five screen-dances were produced for this research between 2004 and 2011 and a further two in 2014 and 2016: Vanishing point (Tiso, 2004), Tippi: Crying Fowl (Tiso, 2007) and Nil desperandum) (Tiso, 2012) were based on the Hitchcock oeuvre, Souvenir (Tiso, 2005) was based on the Tati opus and Crimes (Tiso, 2005) on Sergio Leone’s legacy. Flow (Tiso, 2014) and The big sofa (Tiso, 2016) were developed out of the findings of a completed directorial, stylistic, narrative listing. This thesis is largely a piece of self-enquiry. The researcher has been methodical in how she has approached her own work, so that the work is presented as a heuristic analysis interwoven woven into body of the practical components

Film remakes as ritual and disguise: from Carmen to Ripley

The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals and Disguise is also the first book to explore how and why these stories are told. The author focuses on contemporary retellings of three particular tales - Joan of Arc, Carmen, and Psycho - to reveal what she calls the remake's "rituals of disguise." Joan of Arc, the author demonstrates, later appears as the tough, androgynous Ripley in the blockbuster Alien III film and the God-ridden Bess in Lars Von Trier's Breaking the Waves. Ultimately, these remake chains offer evidence of the archetypes of our own age, cultural "fingerprints" that are reflective of society's own preferences and politics. Underneath the redundancy of the remake, the author shows, lies our collective social memory. Indeed, at its core the lowly remake represents a primal attempt to gain immortality, to triumph over death-playing at movie theatres seven days a week, 365 days a year. Addressing the wider theoretical implications of her argument with sections on contemporary film issues such as trauma, jouissance, and censorship, the author offers an insightful addition to current debates in film theory and cinema history

Film Remakes as Ritual and Disguise

The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals and Disguise is also the first book to explore how and why these stories are told. Anat Zanger focuses on contemporary retellings of three particular tales-Joan of Arc, Carmen, and Psycho-to reveal what she calls the remake's "rituals of disguise." Joan of Arc, Zanger demonstrates, later appears as the tough, androgynous Ripley in the blockbuster Alien III film and the God-ridden Bess in Lars Von Trier's Breaking the Waves. Ultimately, these remake chains offer evidence of the archetypes of our own age, cultural "fingerprints" that are reflective of society's own preferences and politics. Underneath the redundancy of the remake, Zanger shows, lies our collective social memory. Indeed, at its core the lowly remake represents a primal attempt to gain immortality, to triumph over death-playing at movie theatres seven days a week, 365 days a year. Addressing the wider theoretical implications of her argument with sections on contemporary film issues such as trauma, jouissance, and censorship, Zanger offers an insightful addition to current debates in film theory and cinema history.Wat is de reden van filmproducenten voor het maken van een 'remake', waarin een succesvol verhaal opnieuw verteld wordt? En waarin schuilt de aantrekkingskracht voor het publiek om deze verhalen steeds opnieuw te beleven? Wat maakt Carmen, Jeanne d'Arc of Ripley zo bijzonder? Film Remakes as Ritual and Disguise is de eerste grondige studie die het fenomeen 'remakes' onderzoekt in de context van de filmgeschiedenis. Een zeer breed scala aan films, van Olympia tot Carmen Hip-Hopera, van Jeanne d'Arc tot Aliens en Breaking the Waves, en van Suzanne and the Elders tot de installatie van Hitchcocks Psycho in het Centre Pompidou in 2002 passeert daarbij de revue. Zanger laat zien op welke manier de 'remakes' een nieuwe betekenis krijgen door elkaar te versterken, net iets te veranderen of door naar elkaar te verwijzen. Dit nieuwe deel in de serie "http://www.aup.nl/filmculture">Film Culture in Transition is geschreven vanuit een multidisciplinair perspectief om zodoende de relatie te doorgronden tussen institutionele, intertekstuele en feministische benaderingen van film. Aan de hand van zeer uiteenlopende aspecten van de films toont Zanger hoe de lange schakel van 'remakes' gezien kan worden als een reeks vingerafdrukken die de heersende voorkeur en overtuiging van de filmindustrie blootlegt

Star Wars and John Williams: A Rediscovery of the Classical Film Score

Senior Project submitted to The Division of Arts of Bard College

Cannes 2002 Report

FESTIVAL DE CANNES 2002 - FILMS IN COMPETITION VIEWED from the critical side, the 55th Cannes International Film Festival will unfortunately be remembered by critics and professionals for its faulty jury decisions. Roman Polański's The Pianist (Poland / France / Germany), based on the memoirs of Polish concert pianist Wladislaw Szpilman, was awarded the Golden Palm, although the 150-minute Holocaust drama seemed at best contrived, laboured, and uninspired. Aki Kaurismäki's Mies vailla menneisyyttä (The Man without a Past, Finland / France / Germany), voted the Grand Prix as well as Best Actress Award to Kati Outinen, came across at least as a worthy homage to the American film noir of the postwar years. Jack Nicholson's multilayered performance as a retired "little man" from Midwest America in Alexander Payne's About Schmidt (USA) far outdistanced Olivier Gourmet's straightforward interpretation of a working-man's confrontation with a lad who had unintentionally murdered his..

Film Remakes as Ritual and Disguise

The first book-length account of the symbolic chains that link remakes and explain their disguises, Film Remakes as Rituals and Disguise is also the first book to explore how and why these stories are told. Anat Zanger focuses on contemporary retellings of three particular tales-Joan of Arc, Carmen, and Psycho-to reveal what she calls the remake's "rituals of disguise." Joan of Arc, Zanger demonstrates, later appears as the tough, androgynous Ripley in the blockbuster Alien III film and the God-ridden Bess in Lars Von Trier's Breaking the Waves. Ultimately, these remake chains offer evidence of the archetypes of our own age, cultural "fingerprints" that are reflective of society's own preferences and politics. Underneath the redundancy of the remake, Zanger shows, lies our collective social memory. Indeed, at its core the lowly remake represents a primal attempt to gain immortality, to triumph over death-playing at movie theatres seven days a week, 365 days a year. Addressing the wider theoretical implications of her argument with sections on contemporary film issues such as trauma, jouissance, and censorship, Zanger offers an insightful addition to current debates in film theory and cinema history

2000 April

Morehead State University press releases for April of 2000

Dingo media? R v Chamberlain as model for an Australian media event

Dingo Media examines the development of media events using as a case study one of Australia’s most widely known criminal investigations, the disappearance of Azaria Chamberlain at “Ayers Rock”. Considering the case as a blueprint for the way mass media events develop and evolve in the late capitalist era, this thesis suggests that the event marks a turning point in negotiation of the public sphere and Australian national identity. Using an original model, I trace from the 1980s five phases through which news stories pass in their evolution as modern media events by comparing the Chamberlain saga to contemporary cases involving “controversial” women, Schapelle Corby, Joanne Lees and Pauline Hanson. The first phase examines the emerging practice of news workers focusing on personalities rather than events; the second phase analyses both the formation of counter-publics protesting the conviction, and the development of a dialogic connection between media and publics; the third phase investigates the rise of a modern celebrity industry promoting “ordinary” individuals into subjects of media discourse; the fourth phase considers the process of mythic production surrounding the Chamberlain case as related to processes of nation-building in the late 1980s; finally, the fifth phase critiques the prevalent view that, through continual retelling, the event has suffered a loss of meaning. Axiomatic to this study will be the politics of representation, how the media records, organises and mythologises information, as well as the interaction between texts and audiences