846 Chapters
Medium 9780253007223

Works by Godard

Michael Witt Indiana University Press ePub

Works by Godard

This list covers known works made by Jean-Luc Godard for various forms of public circulation and consumption, including scripts, films, videos, pressbooks, trailers, books, invented interviews with other filmmakers, and metacritical texts relating to his own practice. Building on the filmography-bibliography-discography compiled by Nicole Brenez, Bapiste Coutureau, David Faroult, Marina Lewisch, Sylvie Pras, Judith Revault d’Allonnes, and myself for Jean-Luc Godard: Documents, it presents Godard as a multimedia artist, and his audiovisual work (rendered here in bold) as part of a much larger, organically integrated transmedial project. It excludes private letters and interviews, and should be read in conjunction with a list of his theoretical texts and written criticism devoted to the work of other filmmakers.

Abbreviations

Godard on Godard: Jean-Luc Godard, Godard on Godard, ed. Jean Narboni and Tom Milne, trans. Tom Milne (London: Secker and Warburg, 1972).

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Medium 9781864620009

Norm Ferguson and the Latin American films of Walt Disney

Edited by Jayne Pilling John Libbey Publishing ePub

 

One of the most unusual chapters in the history of the Walt Disney studio began in 1941, when Disney was approached by the United States government to make a goodwill tour of South America. The United States had not officially entered World War II at that time, but the government noted with some concern a growing Nazi influence in South America and was seeking to counter that influence by promoting friendly ties between the Americas. Disney did make the trip, along with a group of his artists, and thus began a chain of events which eventually produced two feature-length pictures, Saludos Amigos (1943) and The Three Caballeros (1945), along with a variety of Latin American-influenced short subjects. (These dates represent the United States releases of the films, but it should be noted that they were both released in other countries first. Saludos Amigos opened in Brazil and Argentina in, respectively, August and December 1942; The Three Caballeros had its world premiere in Mexico City in December 1944.) In selecting the artists who were to make the South American trip, Disney appointed the distinguished animator Norm Ferguson as unit producer. Fortunately for anyone interested in documenting the story of that tour and the films that later emerged from it, Ferguson took literally hundreds of photographs along the way – and kept the photographs, along with other mementoes of the occasion. Today, these materials survive in the collection of the artist’s daughter Bonnie Ferguson Brown. By combining them with other papers in the Disney Archives and with the memories of other participants in the project, we can reconstruct a fascinating and quite complete account of the tour and of subsequent production.

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Medium 9780253018618

Alternative Monkey

IU Press Journals Indiana University Press ePub

Alternative Monkey

fulfilling anew roman

alternative to singing but

not the silence in monkey eyes

original speaking ageless

british empire triangle swinging

alternative to colonial but with

all my jungle music heart leaping

in a little moonlight they play.

rainforest thick stooping

options of primal rooting

coconut meat love chewing

alternative to confusing but

not the skin of the truth flamingo

across the mystery of sweeping

levee delta mississippi land

in a little moonlight sneaking.

hat cup monkey dancing organ

workin’ street funky corner grinding

alternative to african caribbean sun but

for all the copper yellow too little timin’

alternative to tobacco ripe for pickin’

corporate sugarcane stock deeper rising

sharp diamond carat moon climbing.

arteries drilling alternative to ingenuity

no one other than for tearless gunning

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Medium 9780253017451

Conclusion: The Giant of the Dolomites and Beyond

Jacqueline Reich Indiana University Press ePub

IN ITS LAST FILM, IL GIGANTE DELLE DOLOMITI, THE MACISTE series returns to its roots, heading back to the snowcapped peaks of Maciste alpino with a bucolic yet modernized tale of espionage and intrigue. Echoes of that earlier film begin from its opening shots of the majestic mountainous landscape and a low-angle shot of Maciste, complete with pipe and smile, as he blends into the rugged background. What immediately comes to the fore is a fusion between Germanic and Italian culture that was typical of the Tyrol region. Italy had regained the southern Tyrol territory after World War I, and the film is in many ways a celebration of that irredentist victory. As one promotional article states, “From the Dolomites’ high peaks, haloed in glory from the Italian army’s most recent victories.” The “giant” in the title is a play on words: it can refer to Maciste himself or to the “passo del Gigante,” which was the treacherous mountain pass that separates the southern and northern Tyrol regions.

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Medium 9780253329059

Four Disney Does Dutch Billy Bathgate and the Disneyfication of the Gangster Genre

Elizabeth Bell Indiana University Press ePub

Robert Haas

Traditionally, Hollywood studios subdivided their annual production into specific genre films that, if nothing else, served as a useful way of striking a balance between product standardization and differentiation. Maintaining certain formulas that would stabilize audience expectations and, by extension, stabilize those audiences, was obviously in Hollywood’s best interests. But how does the category of genre “work” today when popular entertainment is undergoing such a massive recategorization brought on by the ever-increasing number of entertainment options and the fragmentation of what was once thought to be a mass audience into a cluster of “target” audiences? (Collins 1993, 243)

Film genre criticism is enjoying a renaissance through the intervention of cultural critics and their attention to popular film. Carol J. Clover’s Men, Women, and Chainsaws (1992), for example, examines gender issues in the modern horror film; Jane Tompkins explores the cultural, aesthetic, and gender codes of the western in West of Everything (1992); and William Paul’s Laughing Screaming: Modern Hollywood Horror and Comedy (1994) treats the extremely popular and lucrative “gross out” movie. These new studies attempt to interrogate and rearticulate formalistic approaches to narrative cinema. Classifying films by genre in the 1990s, as either a conscious or unconscious act, allows critics to examine the complexities of audience/enunciation/identification, sociocultural values and their historical significance, and constructions of gender/sexuality. Genre theory sets these issues within a recognizable framework of filmic conventions by which meaning is interpreted in and through accepted patterns and expectations of particular films. To that end, genre conventions have, over the years, remained fairly constant. Westerns, horror, science fiction, and gangster films have maintained culturally accepted and constructed conventions that promote, through box office revenue, a profitable enterprise for the producers and distributors of the film. Even films classified as “postmodern” maintain generic conventions: the panoramic vistas, saloon shootouts, and enigmatic protagonist of Stagecoach (1939) are equally evident in Clint Eastwood’s “revisionist” Western, Unforgiven (1992), but the power of these conventions is disputable. The gangster genre, for example, has remained relatively unchanged since the 1930, S1 and John G. Cawelti claims it “may have reached a point of creative exhaustion” (1985, 519). Even use of the phrase “genre” may have reached a similar point. In a postmodern society, genre boundaries are routinely blurred, and critics often prefer to examine films in terms, not of generic expectations, but of audience expectations.

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