La vuelta a casa: reflexiones sobre Los mejores años de nuestra vida (The Best Years of Our Lives. William Wyler, 1946)

I Congreso Internacional de Historia y Cine: 5, 6, 7 y 8 de Septiembre de 2007

Play it again, Butch, Cricket, Chick, Smoke, Happy... the performances of Hoagy Carmichael as a Hollywood bar-room pianist

This article discusses the performances of Hoagy Carmichael as a bar-room pianist figure in a number of 40s and 50s Hollywood films. Supporting musical characters in film often fulfil the role of the 'knowing servant', a character type that exists in many shapes, in cinema and other art forms. The close analysis of Carmichael's characters focuses attention on precisely how this broad type has been represented cinematically in a recurrent guise. It also attests to Carmichael's special status as an actor of this kind of role. His musical persona meant he was particularly suited to being cast in these types of parts. Furthermore, his characters exhibit signs of privilege within their supporting positions when compared to similar figures played by other performers

Hollywood and student learning

During second semester 1997 we undertook a project to ascertain how the use of Hollywood feature films with historical content affected students' learning of twentieth century American History. Questionnaires, reflective journals and interviews were used to gauge the impact of films on student learning. In this Research Vignette we will report on our findings

Introduction To Film And Media Studies (FMST 01) Syllabus

Introduction To Film And Media Studies course description: The invention of cinema at the end of the 19th century and the rapid developments of digital technologies most noticeable in our increased use of social networking tools on mini-screens mark a period in which communications technology shaped and shape our world and moving images evolved from the photographic to the digital. This course explores the specificity, history, and function of media forms, focusing on the language of cinema and the critical repertoire of film/media theories. As an art, a text, a technology, a commercial product, a psychological experience, and a social practice, cinema presents fascinating contradictions for study. This lecture/discussion course, intended as a general introduction and as the first credit towards a minor or a major in Film and Media Studies, has two basic goals. First, it will develop skills in film analysis. You will become fluent in the vocabulary of film form and learn to construct an argument about what a film\u27s sounds and images mean and how it structures and achieves its meanings. Second, it will provide an introduction to the theories, methods, and concerns of film and media studies as a discipline, preparing you for further work in the field. The course will emphasize specific aspects of film style and narrative form through analysis of scenes from the films screened each week and from a range of outside examples. Each week will introduce historical, cultural and theoretical topics relevant to the films shown while focusing on the films\u27 self-reflexivity of their medium, and considering the politics of image-making from the postwar period to today

The Tragedy Zone: Ableism in Entertainment

Ableism, or discrimination towards individuals with disabilities, is pervasive in our society. The entertainment world and the media are largely responsible for shaping the way the general public views minority groups. The topic of disability is incredibly popular on screen and stage, but very few actors and writers with disabilities are being hired in comparison to the amount of work that is being produced on the topic. A startling percentage of best actor/actress Oscar winners have won for portraying a character with a disability of some kind, but only two actors with the same disabilities as their characters have been awarded. In discussions about diversity, the issue of disability representation is often overlooked. When stories about disability are told from an ableist perspective, there are various harmful tropes that commonly arise. These tropes and trends writers fall into can have a negative effect on the lives of people living with disabilities. True disability representation in entertainment calls for platforms for writers, artists and actors with disability to have voices. As a writer with a newfound physical disability, I wanted to write a play that indirectly captured my experience and educated my audience. I was able to incorporate knowledge I gained from research with my personal experience to write my play, titled The Tragedy Zone . By giving the audience the opportunity to see microaggressions through the lens of someone with a newfound disability, the play aims to educate them on the impact tiny ableist interactions can have on relationships and individuals