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9 episodes with cinema journal
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2 episodes with cinema journal
2 episodes with cinema journal
Dorothy Arzner wasn’t the first female film director in the U.S., but she was really the only one working in the studio system during most of the period that’s known as the Hollywood Golden Age. Her short career was still incredibly prolific. Research: "Dorothy Arzner." Encyclopedia of World Biography Online, Gale, 2022. Gale In Context: U.S. History, link.gale.com/apps/doc/K1631009688/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=19d5d3af. Accessed 11 Mar. 2025. Bryant, Sara. “Dorothy Arzner’s Talkies: Gender, Technologies of Voice, and the Modernist Sensorium.” Modern Fiction Studies , Summer 2013, Vol. 59, No. 2, Women's Fiction, New Modernist Studies, and Feminism (Summer 2013) Via JSTOR. https://www.jstor.org/stable/26287651 Casella, Donna R. “What Women Want: The Complex World of Dorothy Arzner and Her Cinematic Women.” Framework: The Journal of Cinema and Media , SPRING & FALL 2009, Vol. 50, No. 1/2 (SPRING & FALL 2009). https://www.jstor.org/stable/41552560 Chuba, Kirsten. “Francis Coppola Helps Paramount Dedicate Building to Pioneer Director Dorothy Arzner.” Variety. https://variety.com/2018/film/news/dorothy-arzner-paramount-building-francis-coppola-1202715056/ D’Alessandro, Anthony. “Francis Ford Coppola & Paramount Dedicate Studio Building To Trailblazing Female Filmmaker Dorothy Arzner.” Deadline. 3/1/2018. https://deadline.com/2018/03/francis-ford-coppola-paramount-dorothy-arzner-jim-gianopulos-1202307320/ Field, Allyson Nadia. “Dorothy Arzner.” Women Film Pioneers Project. https://wfpp.columbia.edu/pioneer/ccp-dorothy-arzner/ Geller, Theresa L. “Arzner, Dorothy.” Senses of Cinema. 5/2003. https://www.sensesofcinema.com/2003/great-directors/arzner/ Kuperberg, Julia & Clara. “Dorothy Arzner, Pioneer, Queer, Feminist.” Wichita Films. 2022. Lane, Christina. "Directed by Dorothy Arzner." Velvet Light Trap, fall 1996, pp. 68+. Gale OneFile: Business, link.gale.com/apps/doc/A90190315/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=04146780. Accessed 11 Mar. 2025. Levy, Carly. “Dorothy Arzner: The Only Female Director of the Golden Age.” Video Librarian. 4/21/2023. https://videolibrarian.com/articles/essays/dorothy-arzner-a-golden-age-era-female-director/ Lewis, Maria. “Dorothy Arzner: mother of invention.” ACMI. https://www.acmi.net.au/stories-and-ideas/dorothy-arzner-mother-invention/ Lugowski, David M. “Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood's Production Code.” Cinema Journal , Winter, 1999, Vol. 38, No. 2 (Winter, 1999). Via JSTOR. https://www.jstor.org/stable/1225622 Madsen, Axel. “The Sewing Circle : Hollywood's greatest secret : female stars who loved other women.” London : Robson. 1996. Mayer, So. “Dorothy Arzner: Queen of Hollywood.” BFI. 3/7/2015. https://www.bfi.org.uk/sight-and-sound/features/dorothy-arzner-queen-hollywood Norden, Martin F. “Exploring the work of Dorothy Arzner as a film-making teacher in southern California.” Film Education Journal. 2022. https://doi.org/10.14324/FEJ.05.2.01 Norden, Martin F., editor. “Dorothy Arzner: Interviews.” University Press of Mississippi. 2024. Tangcay, Jazz. “Women Were Better Represented in Hollywood During the Silent Film Era, AFI Study Reports (EXCLUSIVE).” 1/6/2023. https://variety.com/2023/film/news/women-hollywood-silent-film-era-american-film-institute-afi-1235480998/ Tatna, Meher. “Forgotten Hollywood: Dorothy Arzner.” Golden Globes. 2/16/2022. https://goldenglobes.com/articles/forgotten-hollywood-dorothy-arzner-articles-forgotten-hollywood-dorothy-arzner/ Tietjen, Jill S. and Barbara Bridges. “How Women Were Pushed Out of Hollywood—and Fought Their Way Back In.” Excerpt from "Hollywood: Her Story" The Helm. 4/22/2021. https://thehelm.co/hollywood-herstory-book/ See omnystudio.com/listener for privacy information.
Episode Notes Books: Crowley, Aleister. The Book of the Law. Weiser Books, 1976. https://www.amazon.com/Book-Law-Aleister-Crowley/dp/0877283346 Crowley, Aleister. The Confessions of Aleister Crowley: An Autohagiography. Arkana, 1989. https://www.amazon.com/Confessions-Aleister-Crowley-Autohagiography-Arkana/dp/0140191897 Crowley, Aleister. Magick in Theory and Practice. Dover Publications, 1976. https://www.amazon.com/Magick-Theory-Practice-Aleister-Crowley/dp/0486232952 Crowley, Aleister. The Book of Thoth: A Short Essay on the Tarot of the Egyptians. Weiser Books, 2019. https://www.amazon.com/Book-Thoth-Essay-Tarot-Egyptians/dp/0877282684 Sutin, Lawrence. Do What Thou Wilt: A Life of Aleister Crowley. St. Martin's Griffin, 2000. https://www.amazon.com/Do-What-Thou-Wilt-Aleister/dp/0312288972 Kaczynski, Richard. Perdurabo: The Life of Aleister Crowley. North Atlantic Books, 2010. https://www.amazon.com/Perdurabo-Life-Aleister-Crowley/dp/1556438990 King, Francis. The Magical World of Aleister Crowley. Weiser Books, 2004. https://www.amazon.com/Magical-World-Aleister-Crowley/dp/1578633292 Symonds, John. The Great Beast: The Life and Magick of Aleister Crowley. Macmillan, 1952. https://www.amazon.com/Great-Beast-Life-Magick-Crowley/dp/0595479532 Booth, Martin. A Magick Life: A Biography of Aleister Crowley. Coronet, 2001. https://www.amazon.com/Magick-Life-Biography-Aleister-Crowley/dp/0340728375 Churton, Tobias. Aleister Crowley in America: Art, Espionage, and Sex Magick in the New World. Inner Traditions, 2017. https://www.amazon.com/Aleister-Crowley-America-Espionage-Magick/dp/1620556526 Articles: McDonald, R. (2021). "Aleister Crowley: The Wickedest Man in the World." History Extra. https://www.historyextra.com/period/modern/aleister-crowley-the-wickedest-man-in-the-world/ Espinosa, M. (2019). "Aleister Crowley's Influence on Modern Magic." Smithsonian Magazine. https://www.smithsonianmag.com/history/aleister-crowleys-influence-on-modern-magic-180971848/ Churton, T. (2016). "Aleister Crowley, the Occult, and Rock & Roll." VICE. https://www.vice.com/en/article/9k5edz/aleister-crowley-the-occult-and-rock-roll Bogdan, H. (2012). "The Influence of Aleister Crowley on Kenneth Anger." Cinema Journal. https://muse.jhu.edu/article/472788 Pasi, M. (2009). "Aleister Crowley and the Temptation of Politics." Nova Religio: The Journal of Alternative and Emergent Religions. https://online.ucpress.edu/nr/article-abstract/12/3/4/70854/Aleister-Crowley-and-the-Temptation-of-Politics?redirectedFrom=fulltext Levy, M. (2004). "Aleister Crowley in the Desert: The Last Ritual of the Great Beast." Esoterica. https://www.esoteric.msu.edu/VolumeIV/Crowley.htm Websites: "The Aleister Crowley Foundation". Accessed August 20, 2024. http://www.aleistercrowleyfoundation.org/ "The Hermetic Order of the Golden Dawn - Aleister Crowley". Accessed August 20, 2024. Episode "Thelema: Aleister Crowley's Religious Philosophy". Accessed August 20, 2024. https://www.thelema.org/ "Ordo Templi Orientis (O.T.O.)". Accessed August 20, 2024. http://www.oto.org/ "Aleister Crowley: The Great Beast 666". Accessed August 20, 2024. https://www.aleister-crowley-666.com/ "The Boleskine House Foundation: Aleister Crowley's Legacy". Accessed August 20, 2024. https://www.boleskinehouse.org/ "Sacred Texts: Aleister Crowley". Accessed August 20, 2024. https://www.sacred-texts.com/oto/crowley.htm "Aleister Crowley on Thelemapedia". Accessed August 20, 2024. http://www.thelemapedia.org/index.php/Aleister_Crowley Find out more at https://three-minute-modernist.pinecast.co
Wattpad: a literary oasis of the Web 2.0, or a cash cow monopolizing on the infernal musings of a thousand Club Chalamets? In this episode, Hannah and Maia are joined by Youtube superstar Princess Weekes, to ponder the eponymous literary platform; from its gaming origins, to its heyday as a fertile space for burgeoning writers, to what it is now which is… bizarre. Is Wattpad f-cking up our relationship to literature, or should we just be happy that we're literate at all? How do we critique an institution like Wattpad without punching down at its readers? And how much has the internet affected the kinds of books that are sold to us? These questions and more answered here. Tangents include: Hannah and Maia buying each other “sad broad” snacks, and an extra special shoutout to Regina, Saskatchewan. Support us on Patreon and get juicy bonus content: https://www.patreon.com/rehashpodcast Princess Weekes's video: https://youtu.be/54v0KJZJuyw?si=_AT1SGUzJ_KRnbx7 Intro and outro song by Ian Mills: https://linktr.ee/ianmillsmusic SOURCES “Wattpad: Building the world's biggest reader and writer community” The Literary Platform (2012) https://theliteraryplatform.com/news/2012/10/wattpad-building-the-worlds-biggest-reader-and-writer-community/ Margaret Atwood “Why Wattpad Works” The Guardian (2012) https://www.theguardian.com/books/2012/jul/06/margaret-atwood-wattpad-online-writing Andrew Liptak “Wattpad is launching a publishing imprint called Wattpad Books” The Verge (2019) https://www.theverge.com/2019/1/24/18195753/wattpad-books-launching-publishing-imprint-self Bianca Bosker, “The One Direction Fan-Fiction Novel That Became a Literary Sensation” The Atlantic (2018) https://www.theatlantic.com/magazine/archive/2018/12/crowdsourcing-the-novel/573907/ “The Master Plan” Wattpad https://company.wattpad.com/blog/2016/11/30/the-master-plan Chelsea Humphries, “Is an Algorithm the Answer? Wattpad Books's Challenge to Publishing Infastructure” The iJournal (2019) https://theijournal.ca/index.php/ijournal/article/view/33469/25726 David Steitfeld, “Web Fiction, Serialized and Social” The New York Times (2014) https://www.nytimes.com/2014/03/24/technology/web-fiction-serialized-and-social.html Hazal Kirci, “The tales teens tell: what Wattpad did for girls” The Guardian (2014) https://www.theguardian.com/technology/2014/aug/16/teen-writing-reading-wattpad-young-adults Abigail De Kosnik, “Should Fan Fiction Be Free?” Cinema Journal (2009) https://www.jstor.org/stable/25619734
When watching at rom-com, have you ever noticed that the stars just kind of glow? That their skin looks silky smooth and their apartments are always sun-drenched? Lighting design and camera movement play a huge role in giving rom-coms their particular aesthetic, and those things (we're pretty sure) are part of the art of cinematography. This week, to help us understand the history of cinematography and the particular look of How to Lose A Guy in 10 Days, we have Chris Cagle on the show.Chris Cagle is an associate professor of film history and theory in the Film and Media Arts department at Temple University. His book, Sociology on Film: Postwar Hollywood's Prestige Commodity, examines the 1940s social problem film as both a form of popular sociology and a strain of middlebrow "prestige" cinema. Additionally, he has published essays in Cinema Journal, Screen, and Quarterly Review of Film and Video, and in a number of edited volumes, including most recently Cinematography and Middlebrow Cinema. ---If we give you butterflies, consider supporting us on Patreon! On Patreon have more great romance content including a close scene analysis with Chris. Hosted on Acast. See acast.com/privacy for more information.
This week, Patrick and Eliana discuss Marcel Carné's 1945 film Les Enfants du Paradis (Children of Paradise), which appeared in the 2011 Cannes Classics section. Filmed during the Nazi Occupation of France and released as the first film following its liberation, the film has continued to charm audiences in France and abroad with its gorgeous set design, iconic actors, and wit-infused characters, a result of the core collaboration between set designer Alexandre Trauner, screenwriter Jacques Prevert, and composer Joseph Kosma.Spectatorship and performance are at the heart of this farcical and bittersweet film, where four men vie for the radiant yet fugacious Garance as she flits between them, and they amongst themselves on the grand Boulevard du ‘Crime.' It is a film about action and re-action, the verbal and the non-verbal, in a city too small for undying dreams.Resources:Affron, Mirella Jona. "Les Enfants Du Paradis: Play of Genres." Cinema Journal, vol. 18, no. 1, 1978, pp. JSTOR.Ebert, Roger. “Children of Paradise.” RogerEbert.com,Forbes, Jill. Les Enfants Du Paradis, British Film Institute, 1997.Mancini, Marc. "Prevert: Poetry in Motion Pictures." Film Comment, vol. 17, no. 6, 1981, pp. 34-37. JSTOR.Nye, Edward. Deburau. Pierrot, Mime, and Culture, Routledge, 2022.Picherit, Hervé. “A Strange Child of Paradise: The Artistry of Arletty's “Self” in Les enfants du paradis.” Camera Obscura, Vol. 32, No. 1, Duke University Press, 2017.Reid, Tina. “Marcel Carné on Children of Paradise: Forty-Five Years Later” The Criterion Collection, 20 Sept. 2012,Sadoul, Georges. "The Postwar French Cinema."Hollywood Quarterly, vol. 4, no. 3, 1950, pp. JSTOR.Sellier Geneviève. « Les Enfants du paradis dans le cinéma de l'Occupation.” 1895, revue d'histoire du cinéma, n° 22, 1997, pp. 55-66.Turk, Edward Baron. Child of Paradise. Marcel Carné and the Golden Age of French Cinema, Harvard University Press, 1989.Sound:EFF Open Audio License for Le Carnaval des Animaux (Saint-Saëns, Camille - Aquarium) by Neal O'Doan (Piano) Nancy O'Doan (Piano), and Seattle Youth Orchestra Pandora Records/Al Goldstein Archive.Excerpt
Eli Roths Hostel (Prod. Quentin Tarantino) gilt als ultimativer Torture Porn und Inbegriff des amerikanischen Post-9/11-Horror. Wo der fame des Films dabei wesentlich auf Guts n Gore der fatalen Folterszenen basiert, ist lang übersehen worden, wie Hostel inhaltlich mit feiner Klinge die westliche Konsum-Kultur seziert. In dieser Folge zeigt Dr. Horror Stefan Sonntagbauer welche Philosophie hinter der grellen Hostel-Fassade steckt, wie aus Sex schließlich Gewalt werden kann und kapitalistische Entfesselung und patriarchale Repression heimlich zusammenarbeiten. Ein absolutes Must für alle, die bei der Horror-Legende wirklich bescheid wissen wollen!
Dans cet épisode #136, nous allons parler de Slumdog Millionaire, sorti en 2008, et qui a remporté 8 Oscars, 4 Golden Globes et les applaudissements du monde entier.Pourtant, ce film ne serait-il pas stigmatisant ? Respecte-t-il seulement le roman Q&A de Vikas Swarup ? Qu'en est-il des controverses et des vives critiques indiennes ?On décrypte tout en compagnie de Victoire, podcastrice chez "Adapte-moi si tu peux".Suivez-nous sur insta : bollywood_versus et twitter : BV_podcast Sources :[1]C. Clini et D. Valančiūnas, « Bollywood and slum tours: poverty tourism and the Indian cultural industry », Cultural Trends, vol. 32, no 4, p. 366 382, août 2023, doi: 10.1080/09548963.2023.2212618.[2]I. Krstić, « Bombay Cinema », in Slums on Screen, in World Cinema and the Planet of Slums. , Edinburgh University Press, 2016, p. 225 256. Consulté le: 11 octobre 2023. [En ligne]. Disponible sur: https://www.jstor.org/stable/10.3366/j.ctt1bh2kdk.14[3]N. Vanfasse, « Charles Dickens in Twenty-First-Century India. A Study of the Novel Q & A by Vikas Swarup and its Film Adaptation by Danny Boyle »:, Études anglaises, vol. Vol. 65, no 1, p. 7 18, avr. 2012, doi: 10.3917/etan.651.0007.[4]S. Abramovitch, « Danny Boyle Looks Back on the Kids and Controversy of ‘Slumdog Millionaire' (Q&A) », The Hollywood Reporter. Consulté le: 16 octobre 2023. [En ligne]. Disponible sur: https://www.hollywoodreporter.com/movies/movie-news/danny-boyle-looks-back-kids-683909/[5]« India Through The Western Lens », Forbes India. Consulté le: 17 octobre 2023. [En ligne]. Disponible sur: https://www.forbesindia.com/article/think/india-through-the-western-lens/43481/1[6]F. Landy, « Mon petit bidonville à Bombay », echogeo, mars 2009, doi: 10.4000/echogeo.10947.[7]M. Davis, Planet of slums. London ; New York: Verso, 2006.[8]D. Valanciunas, « Questioning “Slumdog Millionaire”: Ambivalent Practices and Imaginary Truths », janv. 2017, Consulté le: 13 octobre 2023. [En ligne]. Disponible sur: https://www.academia.edu/38775710/Questioning_Slumdog_Millionaire_Ambivalent_Practices_and_Imaginary_Truths[9]J. G. Shaheen, « Reel Bad Arabs: How Hollywood Vilifies a People », The Annals of the American Academy of Political and Social Science, vol. 588, p. 171 193, 2003.[10]S. Roy, « Slumdog Millionaire: Capitalism, a Love Story », The Journal of Popular Culture, vol. 49, no 1, p. 155 173, 2016, doi: 10.1111/jpcu.12390.[11]« Slumdog Paradox | YaleGlobal Online ». Consulté le: 13 octobre 2023. [En ligne]. Disponible sur: https://archive-yaleglobal.yale.edu/content/slumdog-paradox[12]« “Slumdog” Director Danny Boyle On Filming In India », NPR. Consulté le: 16 octobre 2023. [En ligne]. Disponible sur: https://www.npr.org/2009/02/13/100671912/slumdog-director-danny-boyle-on-filming-in-india[13]The “Slumdog" Phenomenon: A Critical Anthology. Anthem Press, 2013. Consulté le: 11 janvier 2024. [En ligne]. Disponible sur: https://www.jstor.org/stable/j.ctt1gxpc01[14]E. Gonzaga, « The Cinematographic Unconscious of Slum Voyeurism », Cinema Journal, vol. 56, no 4, p. 102, 2017.[15]B. Marx, T. Stoker, et T. Suri, « The Economics of Slums in the Developing World », Journal of Economic Perspectives, vol. 27, no 4, p. 187 210, nov. 2013, doi: 10.1257/jep.27.4.187.[16]I. Krstić, « The Origins of Slums, Capitalism and the Shortcomings of Cinema », Mediapolis: Journal of Cities and Culture, Vol. 4, No. 3, janv. 2019, Consulté le: 13 octobre 2023. [En ligne]. Disponible sur: https://www.academia.edu/40653131/The_Origins_of_Slums_Capitalism_and_the_Shortcomings_of_Cinema[17]F. Hanrahan, « The Poverty Tour: Life in the Slums of Mumbai and Manila as seen in Danny Boyle's Slumdog Millionaire and Merlinda Bobis's The Solemn Lantern Maker », ATLANTIS Journal of the Spanish Association of Anglo-American Studies - 37.1 (June 2015), janv. 2015, Consulté le: 13 octobre 2023. [En ligne]. Disponible sur: https://www.academia.edu/38317624/The_Poverty_Tour_Life_in_the_Slums_of_Mumbai_and_Manila_as_seen_in_Danny_Boyle_s_Slumdog_Millionaire_and_Merlinda_Bobis_s_The_Solemn_Lantern_Maker[18]A. Gehlawat, The Slumdog Phenomenon: A Critical Anthology. Anthem Press, 2013.[19]J. J. Cavallero, « Transnational Adaptation: Q & A, Slumdog Millionaire , and Aesthetic and Economic Relationships Between Bollywood and Hollywood », The J of Popular Culture, vol. 50, no 4, p. 835 854, août 2017, doi: 10.1111/jpcu.12564.
Heather Hendershot is a professor of film and media in MIT's Comparative Media Studies/Writing program. Her most recent book is When the News Broke: Chicago 1968 and the Polarization of America. She is also the author of: Open to Debate: How William F. Buckley Put Liberal America on the Firing Line; What's Fair on the Air? Cold War Right-Wing Broadcasting and the Public Interest; Shaking the World for Jesus: Media and Conservative Evangelical Culture; and Saturday Morning Censors: Television Regulation before the V-Chip. Heather also edited the anthology Nickelodeon Nation: The History, Politics, and Economics of America's Only Channel for Kids, and she is a former editor of Cinema Journal, the official publication of the Society for Cinema and Media Studies.Heather received her BA from Yale University and her MA and PhD from the University of Rochester. She has held fellowships at Harvard University, Princeton University, Stanford University, New York University, the University of Pennsylvania, and Vassar College, and she has also been a Guggenheim Fellow.You can find her on Twitter here: @ProfHendershotYou can buy your book here: 'When The News Broke'Follow us on Twitter: https://twitter.com/JATQPodcastIntragram: https://www.instagram.com/jatqpodcastYoutube:https://www.youtube.com/channel/UCET7k2_Y9P9Fz0MZRARGqVwThis Show is Available Ad-Free And Early For Patreon supporters here: https://www.patreon.com/justaskthequestionpodcast Purchase Brian's book "Free The Press" Follow Brian's Salon articles!
Dr. Alyxandra Vesey is an assistant professor in Journalism and Creative Media at the University of Alabama. Her research focuses on the intersection between gender, music culture, labor, and media industries. She is currently finishing a book (that she tells us all about) related to the identity politics surrounding musicians' labor in the television industry during the post-network era. She also does research on the ideologies of gender that circulate within merchandising and endorsement work in the recording industry. Her work has been published in Television and New Media, Feminist Media Studies, Popular Music and Society, Cinema Journal, Saturday Night Live and American TV and Emergent Feminisms and the Challenge to Postfeminist Media Culture. She is also a long-time contributor to Bitch Media and the founder of the blog Feminist Music Geek. This episode is so much fun as we dive a little deeper into the music industry and learn more about the interplay between gender, the politics of gender, and commodification. To follow us on Twitter: @ICIRAlabama
Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate. Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI's Film Classics series, The Godfather. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate. Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI's Film Classics series, The Godfather. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate. Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI's Film Classics series, The Godfather. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate. Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI's Film Classics series, The Godfather. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate. Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI's Film Classics series, The Godfather. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate. Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI's Film Classics series, The Godfather. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
Francis Ford Coppola's "The Godfather, Part II" (1974) is a magisterial cinematic work, a gorgeous, stylized, auteur epic, and one of the few sequels judged by many to be greater than its predecessor. This despite the fact that it consists largely of meetings between aspiring 'Godfather' Michael Corleone and fellow gangsters, politicians and family members. The meetings remind us that the modern gangster's success is built upon inside information and on strategic planning. Michael and his father Vito's days resemble those of the legitimate businessmen they aspire or pretend to be. In his book The Godfather, Part II (Bloomsbury, 2022), Jon Lewis provides a close analysis of the film and a discussion of its cinematic and political contexts. It is structured in three sections: “The Sequel,” “The Dissolve,” and “The Sicilian Thing” – accommodating three avenues of inquiry, respectively: the film's importance in and to Hollywood history, its unique, auteur style and form; and its cultural significance. Of interest, then, is New Hollywood history, mise-en-scene, and a view of the Corleone saga as a cautionary capitalist parable, as a metaphor of the corruption of American power, post-Vietnam, post-Watergate. Jon Lewis is the University Distinguished Professor of Film Studies at Oregon State University and the former editor of Cinema Journal. His books include Road to Nowhere: Hollywood Encounters the Counterculture, Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles, The Road to Romance and Ruin: Teen Films and Youth Culture, Whom God Wishes to Destroy … Francis Coppola and the New Hollywood, Hollywood v. Hard Core: How the Struggle over Censorship Saved the Modern Film Industry, and for the BFI's Film Classics series, The Godfather. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found at https://fifteenminutefilm.podb... and on Twitter @15MinFilm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
Dahlia Schweitzer - a pop culture critic and writer. Described by renowned author Toby Miller as “one of the world's leading analysts of popular culture” and by Vogue as “sexy, rebellious, and cool,” Schweitzer writes about film, television, music, gender, identity, and everything in between. Her work can be found across mainstream, academic, and emergent channels. The Baton Rouge-born novelist, chanteuse, and performance artist studied at Wesleyan University, lived and worked in New York and Berlin, and moved to Los Angeles to complete her graduate work at the Art Center College of Design and the University of California-Los Angeles.Her latest book, Going Viral: Zombies, Viruses, and the End of the World, explores depictions of pandemics and outbreak narratives in contemporary American film and television.She is also the author of Cindy Sherman's Office Killer: Another Kind of Monster, a historical, political, and cultural analysis of Office Killer, the only movie directed by American photographer Cindy Sherman. This book, like her works of fiction, Queen of Hearts, Seduce Me, and Lovergirl, explores issues of feminism, identity, and the role of women in contemporary society. She also has essays in publications including Cinema Journal, Journal of Popular Film and Television, Hyperallergic, Jump Cut, Quarterly Review of Film and Video, and The Journal of Popular Culture, and she has released two albums of electronic dance music, Plastique and Original Pickup.
After some delays, we're back to talk about Spike Jonze' film "Her" from 2013! Shadon enjoyed this film back when it was released, but he wanted to revisit it now, almost a decade later, to see how it held up. We discuss the film's relevance in 2022, its core message about learning how to love others well, if anything about it would be made differently in 2022, its depiction of societal change in the wake of radical new technology, if the film sufficiently establishes Samantha's humanity, which app we'd like to fall in love with, and much more! Enjoying this podcast? Tip us a coffee on Ko-fi! This will get you access to The World's Best Anime (and Other Media Too) Discord. | https://ko-fi.com/waruideshou Want to get in touch? Tweet the show, Doc or Shadon | Email the show Music: Foreigner "I Want To Know What Love Is" Michael Kelly "Calicomp 1.1 Shutdown" Sources I Wanted To Read But Didn't: Aleksić, Jana. “Defense of Humanity: Defense of Personality: Aesthetic Rethinking of the Concept of Body in the Film Her by Spike Jonze.” Kultura (Belgrade, Serbia), no. 167, 2020, pp. 266–87, https://doi.org/10.5937/kultura2067266A. FLISFEDER, MATTHEW, and CLINT BURNHAM. “Love and Sex in the Age of Capitalist Realism: On Spike Jonze's Her.” Cinema Journal, vol. 57, no. 1, Fall 2017, pp. 25–45. EBSCOhost, https://doi-org.bunchproxy.idm.oclc.org/10.1353/cj.2017.0054. Jagoe, Eva-Lynn. “Depersonalized Intimacy: The Cases of Sherry Turkle and Spike Jonze.” English Studies in Canada, vol. 42, no. 1, Association of Canadian College and University Teachers of English, 2016, pp. 155–73, https://doi.org/10.1353/esc.2016.0004. Jollimore, Troy. “‘This Endless Space between the Words': The Limits of Love in Spike Jonze's Her.” Midwest Studies In Philosophy (Wiley-Blackwell), vol. 39, no. 1, Sept. 2015, pp. 120–43. EBSCOhost, https://doi-org.bunchproxy.idm.oclc.org/10.1111/misp.12039. KIYCI, Hale. “Spike Jonze's Her: How Transhumanism Turns into a Control Mechanism under the Name of Love.” Journal of the Faculty of Letters, vol. 12, no. 23, Jan. 2022, pp. 121–38. EBSCOhost, https://doi-org.bunchproxy.idm.oclc.org/10.33207/trkede.954659. --- Send in a voice message: https://anchor.fm/waruideshou/message Support this podcast: https://anchor.fm/waruideshou/support
Dahlia Schweitzer - a pop culture critic and writer. Described by renowned author Toby Miller as “one of the world's leading analysts of popular culture” and by Vogue as “sexy, rebellious, and cool,” Schweitzer writes about film, television, music, gender, identity, and everything in between. Her work can be found across mainstream, academic, and emergent channels. The Baton Rouge-born novelist, chanteuse, and performance artist studied at Wesleyan University, lived and worked in New York and Berlin, and moved to Los Angeles to complete her graduate work at the Art Center College of Design and the University of California-Los Angeles.Her latest book, Going Viral: Zombies, Viruses, and the End of the World, explores depictions of pandemics and outbreak narratives in contemporary American film and television.She is also the author of Cindy Sherman's Office Killer: Another Kind of Monster, a historical, political, and cultural analysis of Office Killer, the only movie directed by American photographer Cindy Sherman. This book, like her works of fiction, Queen of Hearts, Seduce Me, and Lovergirl, explores issues of feminism, identity, and the role of women in contemporary society. She also has essays in publications including Cinema Journal, Journal of Popular Film and Television, Hyperallergic, Jump Cut, Quarterly Review of Film and Video, and The Journal of Popular Culture, and she has released two albums of electronic dance music, Plastique and Original Pickup.
It's spooky season! Time to take on the beloved camp classic Little Shop of Horrors, directed by Frank Oz. Come for the catchy tunes and impeccable comedic choices, stick around for the white flight narrative. "Best Revival of a Podcast: Showgays" is a podcast in The Ampliverse. Instagram / Twitter and share your thoughts with us about the movie! Email showgaysmoviemusical@gmail.com with any thoughts and takes and we may read it on the next episode! #MadeonZencastr References Sontag, “Notes on Camp” Scooby Doo deep dive Director's cut ending of Little Shop Musicals with Zack, The Complete(ish) History of the Original Ending of Little Shop of Horrors How to make split pea soup Cher playing all the parts in West Side Story Rothstein, Richard. The Color of Law: A Forgotten History of How Our Government Segregated America. Liveright, 2017. Redlining map of Saint Paul Jensen, Marc. “‘Feed Me!': Power Struggles and the Portrayal of Race in Little Shop of Horrors.” Cinema Journal, vol. 48, no. 1, Society of Cinema & Media Studies, Fall 2008, pp. 51–67. Mandracchia, Christen. “‘Don't Feed the Plants!': Monstrous Normativity and Disidentification in Little Shop of Horrors.” Studies in Musical Theatre, vol. 13, no. 3, Dec. 2019, pp. 309–16.
Popkultur wird von Ereignissen geformt und formt sie aber doch auch in der Wahrnehmung und im Gedächtnis. Wie hat 9/11 die Popkultur verändert? Wir haben uns dafür die Darstellung von Folter in ein paar Filmen und Homeland angeschaut. Wann wird wer gefoltert? Wann ist Folter in Ordnung und wann nicht? Und zum Schluss haben wir uns noch angeschaut wie Iron Man und Batman sich verändert haben und was das mit 9/11 zu tun haben könnte. Wer Gast sein möchte, Fragen oder Feedback hat, kann dieses gerne an houseofmodernhistory@gmail.com oder auf Twitter an @houseofModHist richten. Quellen: Asad, Talal: The Formation of the Secular. 2003. Assmann, Aleida: “Transformations between History and Memory,” Social Research 75/1 (2008), pp. 49–72. ARTE Doku: Slahi und seine Folterer: https://www.arte.tv/de/videos/095726-000-A/slahi-und-seine-folterer/ From TV News Tickers to Homeland: The Ways TV Was Affected By 9/11, September, 2021: https://www.npr.org/2021/09/10/1035896519/from-tv-news-tickers-to-homeland-the-ways-tv-was-affected-by-9-11?t=1631360564613 Gil Capeloa, Isabel & Nesci, Catherine: Culture & Conflict. Vol. 9. Berlin/Boston, 2016. Goncalves, Diana: 9/11: Culture, Catastrophe and the Critique of Singularity. Kötzing, Andreas: Batman jagt Bin Laden. 9/11 und der Kampf gegen den Terror im Hollywood-Kino, Aus Politik und Zeitgeschichte 51: Facts & Fiction, 2016: https://www.bpb.de/apuz/238844/batman-jagt-bin-laden-9-11-und-der-kampf-gegen-den-terror-im-hollywood-kino?p=all NDR: 9/11 und die Folgen in der Popkultur: https://www.ndr.de/ndrblue/sendungen/nachtclub/9-11-und-die-Folgen-in-der-Popkultur,audio961522.html Storey, John, Cultural studies and the study of popular cultures: theories and methods, Edinburgh University Press, 1996. Slocum, David: 9/11 Film and Media Scholarship. Cinema Journal, Vol. 51, no. 1, 2001, S. 181-193. SWR2 Wissen: 9/11 – Als Terror zum Medienevent wurde: https://open.spotify.com/episode/37lEbXL923FTsAwGvIjmHM?si=RG7fPCnkSuKEFS-TnoMooQ&utm_source=copy-link&dl_branch=1 Said, Edward W.: Orientalism. Penguin Books: 2003. Washington Post Magazin: 9/11 – 20 years later: From TV News Tickers to Homeland: The Ways TV Was Affected By 9/11 Westwell, Guy: Parallel Lines: Post-9/11 American Cinema, 2014.
Hello, kaiju lovers! “Godzilla Redux” continues with Godzilla, King of the Monsters! (the original and not the 2019 film covered on MIFV a few months ago). Elijah Thomas (aka “The Littlest Gatekeeper”) from the Kaiju Conversation podcast joins Nate to discuss this Americanized version of the original 1954 kaiju classic. While it's often been derided by both fans and critics alike, Nate and Elijah argue that it's not only an important time capsule commenting on American-Japanese relations in the mid-1950s, but it just might be more culturally significant than Ishiro Honda's original film! You read that right! If it wasn't for Raymond Burr playing reporter (not comedian) Steve Martin in this version, the Godzilla franchise may have stalled and faded into the arthouse ether. That's just a taste of these boys' defense of the film! Before the broadcast, Nate gets a call from Legal Action Team paralegal Gary, who says he's meeting with a private investigator concerning their case against the Board—just when William H. George III, the Board's special envoy, pays Nate a visit to make some veiled threats. After the broadcast, which includes several reports about an escaped Gyaos, Raymund Martin comes demanding to know if Nate has seen Gary that day—and tells Nate and Jimmy about a tragedy on the Island. Listen to Nate and Travis's spinoff podcast, The Henshin Men Podcast, on Redcircle. This episode's prologue and epilogue, “Gary and the Gyaos,” was written by Nathan Marchand with Michael Hamilton and Damon Noyes. Guest stars: Michael Hamilton as William H. George III Damon Noyes as Gary & Raymund Martin Additional music: “Rondeau” by Jean-Joseph Mouret “Opening the Way” by Pablo Coma “Chant My Name!” by Masaaki Endo “Abandoned by God” by RoeTaKa Sound effects sourced from Freesound.org. We'd like to give a shout-out to our MIFV MAX patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio); Bex from Redeemed Otaku; Damon Noyes, The Cel Cast, TofuFury, and today's guest host, Elijah Thomas! Thanks for your support! You, too, can join MIFV MAX on Patreon to get this and other perks starting at only $3 a month! Check out MIFV MAX #4 to learn how you can help make Episode 50—MIFV's second anniversary special—possible! Buy official MIFV merch on TeePublic! This episode is approved by the Monster Island Board of Directors. Timestamps: Prologue: 0:00-4:37 Intro: 4:37-16:30 Main Discussion: 16:30-1:28:59 Listener Feedback, Housekeeping & Outro: 1:28:59-1:39:13 Epilogue: 1:39:13-end Podcast Social Media: Twitter Facebook Instagram Follow Jimmy on Twitter: @NasaJimmy Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD Follow the Raymund Martin and the MIFV Legal Team on Twitter: @MIFV_LegalTeam Follow Crystal Lady Jessica on Twitter: @CystalLadyJes1 Follow The Henshin Men Podcast on Twitter: @HenshinMenPod www.MonsterIslandFilmVault.com #JimmyFromNASALives #MonsterIslandFilmVault #Godzilla #GodzillaKingoftheMonsters © 2021 Moonlighting Ninjas Media Bibliography/Further Reading: Brothers, Peter H. Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda. Galbraith IV, Stuart. Japanese Science Fiction, Fantasy and Horror Films: A Critical Analysis and Filmography of 103 Features Released in the United States 1950-1992. Glownia, Dawid. “Socio-Political Aspects of Kaijū Eiga Genre: A Case Study of the Original Godzilla.” Silva Iaponicarum, vol. 37. Godzilla, King of the Monsters! Commentary by Steve Ryfle and Ed Godziszewski (Classic Media DVD).. Godzilla, King of the Monsters! Commentary by David Kalat (Criterion Blu-Ray). Hein, Laura. “Revisiting America's Occupation of Japan.” Cold War History, Vol. 11, No. 4, November 2011, 579–599. Hoberman, J. “Poetry After the A-Bomb” (2011 Criterion Blu-Ray booklet). “International Military Tribunal for the Far East” (Wikipedia). Kalat, David. A Critical History and Filmography of Toho's Godzilla Series, 2nd Kaijuvision Radio - “Episode 4: Godzilla, King of the Monsters! (US) (1956) (Occupation of Japan Part 2: Tokyo Tribunal).” LeMay, John. The Big Book of Japanese Giant Monster Movies Volume 1: 1954-1982. Napier, Susan J. “Panic Sites: The Japanese Imagination of Disaster from Godzilla to Akira.” The Journal of Japanese Studies, Vol. 19, No. 2 (Summer, 1993), pp. 327-351. Published by: The Society for Japanese Studies. Noriega, Chon. “Godzilla and the Japanese Nightmare: When ‘Them!' Is U.S.” Cinema Journal, Vol. 27, No. 1 (Autumn, 1987), pp. 63-77. Published by University of Texas Press on behalf of the Society for Cinema & MediaStudies. Rhodes, Sean, and Brooke McCorkle. “Chapter 3: Godzilla, Nature and Nuclear Revenge.” Japan's Green Monsters: Environmental Commentary in Kaiju Cinema. Ryfle, Steve. “Godzilla's Footprint” (Classic Media DVD booklet). Ryfle, Steve, and Ed Godziszewski. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa.
Check the windows in your teleportation pod because we're heading up to Toronto to discuss all the gooey goodness in David Cronenberg's seminal horror remake The Fly! Joining us is Bloody Disgusting's lead critic (and co-host of The Bloody Disgusting Podcast): Meagan Navarro!Join us as we trace the film's journey from page to screen (rewrites, Mel Brooks, tragedy and Total Recall) before discussing the film's possible AIDS allegory and, of course, all the praise for the film's outstanding and Oscar-winning special effects.Plus, respect for the film's handling of abortion (in 1986, no less) normalizing the cock and references to Zenon: The Zequel and Cube 2: Hypercube. Hey, it wouldn't be a Cronenberg discussion if it wasn't weird!References:William Beard. The Artist as Monster: The Cinema of David CronenbergWillow Maclay and Caden Gardner. Body Talk:Conversations on Transgender CinemaErnest Mathijs. AIDS References in the Critical Reception of David Cronenberg. Cinema Journal, Summer, 2003, Vol. 42, No. 4Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd and/or Facebook, or join the Facebook Group to get in touch with other listeners> Trace: @tracedthurman> Joe: @bstolemyremote> Meagan: @HauntedMeg / @bdisgustingpod / The Fly Article: [It Came From the ‘80s] Oscar Winning Makeup and Creature Effects Transformed ‘The Fly'Be sure to support the boys on Patreon! And please take this reader survey (http://bloody-disgusting.com/podcastsurvey) before August 31st! See acast.com/privacy for privacy and opt-out information.
Hello, kaiju lovers! By popular (and Godzilla's) demand, MIFV is starting a new series on episodes on the Godzilla franchise called “Godzilla Redux”! It starts with the one that started it all, the 1954 classic Godzilla (aka Gojira) starring Akira Takarada, Akihiko Hirata, and Takeshi Shimura, among others, and directed by Ishiro Honda. Of course, such a momentous film and occasion required all four of the original Tourists, Nick Hayden, Timothy Deal, and Joe & Joy Metter. Unfortunately for Nate, there is way, way, WAY too much scholarship on this film, so it was overwhelming to research and difficult to condense it all down. Regardless, the roundtable discusses the U.S. Occupation of Japan, the Lucky Dragon No. 5 incident, and how Dr. Serizawa should've been a cool anime character, among other subjects related to this film. Check out Nick and Tim's podcast, Derailed Trains of Thought! Additional music: “Chant My Name!” by Masaaki Endo We'd like to give a shout-out to our MIFV MAX patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio); Bex from Redeemed Otaku; Damon Noyes, and The Cel Cast! Thanks for your support! You, too, can join MIFV MAX on Patreon to get this and other perks starting at only $3 a month! Buy official MIFV merch on TeePublic! This episode is approved by the Monster Island Board of Directors. Timestamps: Prologue: 0:00-1:11 Intro: 1:11-3:55 Main Discussion: 3:55-1:17:36 Housekeeping & Outro: 1:17:36-end Podcast Links: Twitter Facebook Instagram YouTube TikTok Follow Jimmy on Twitter: @NasaJimmy Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD Follow the Raymund Martin and the MIFV Legal Team on Twitter: @MIFV_LegalTeam Follow Crystal Lady Jessica on Twitter: @CystalLadyJes1 www.MonsterIslandFilmVault.com #JimmyFromNASALives #MonsterIslandFilmVault #Godzilla © 2021 Moonlighting Ninjas Media Bibliography/Further Reading: Barr, Jason. The Kaiju Film: A Critical Study of Cinema's Biggest Monsters. Brothers, Peter H. Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda. Brothers, Peter H. “Without Raymond Burr: Godzilla at the Egyptian.” G-Fan, no. 50, March/April 2001. Galbraith IV, Stuart. Japanese Science Fiction, Fantasy and Horror Films: A Critical Analysis and Filmography of 103 Features Released in the United States 1950-1992. Glownia, Dawid. “Socio-Political Aspects of Kaijū Eiga Genre: A Case Study of the Original Godzilla.” Silva Iaponicarum, vol. 37. Godzilla Commentary by David Kalat (Criterion Blu-Ray). Godzilla 2011 Criterion Blu-Ray Special Features. Gojira Commentary by Steve Ryfle and Ed Godziszewski (Classic Media DVD). Gojira Classic Media DVD Special Features. Hein, Laura. “Revisiting America's Occupation of Japan.” Cold War History, Vol. 11, No. 4, November 2011, 579–599. Hoberman, J. “Poetry After the A-Bomb” (2011 Criterion Blu-Ray booklet). Kaijuvision Radio, Episode 2: Godzilla Origins: King Kong (1933) and The Beast from 20,000 Fathoms (1953) Kaijuvision Radio, Episode 3: Gojira (1954) (The Occupation of Japan Part 1: Castle Bravo Test, Cold War, Democracy) Kalat, David. A Critical History and Filmography of Toho's Godzilla Series, 2nd LeMay, John. The Big Book of Japanese Giant Monster Movies Volume 1: 1954-1982. LeMay, John. Writing Giant Monsters. Miwa, Yosjiro, and J. Mark Ramseyer. “The Good Occupation? Law in the Allied Occupation of Japan.” Washington University Global Studies Law Review, vol. 8, no. 2. 2009. Napier, Susan J. “Panic Sites: The Japanese Imagination of Disaster from Godzilla to Akira.” The Journal of Japanese Studies, Vol. 19, No. 2 (Summer, 1993), pp. 327-351. Published by: The Society for Japanese Studies. Noriega, Chon. “Godzilla and the Japanese Nightmare: When ‘Them!' Is U.S.” Cinema Journal, Vol. 27, No. 1 (Autumn, 1987), pp. 63-77. Published by University of Texas Press on behalf of the Society for Cinema & MediaStudies. “Occupation of Japan” (Wikipedia). Ryfle, Steve. “Godzilla's Footprint” (Classic Media DVD booklet). Ryfle, Steve, and Ed Godziszewski. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa.
Kiss Me Deadly : Le dernier bon film américain. Kiss Me Deadly, réalisé en 1955 par Robert Aldrich est un film américain, le dernier bon film qui a été réalisé par les États-Unis depuis plus de 60 ans. Aucun film depuis 1955 n’est arrivé à la cheville de ce chef-d’oeuvre d’après-guerre. Film noir par excellence, Kiss Me Deadly est un film complexe, lugubre et déjanté qui doit être vu ; si vous n’avez pas vu Kiss Me Deadly, il en est grand temps! Dans le présent épisode, on découvre, décortique et déboulonne Kiss Me Deadly. Bonne écoute! Lien pour écouter Kiss Me Deadly : https://archive.org/details/kissmedeadly1955_202001 BIBLIOGRAPHIE - Lang, Robert. « Looking for the ‘Great Whatzit’ : Kiss Me Deadly and Film noir ». Cinema Journal 27, no. 3 (Printemps 1988) : 32-44. (via : https://drive.google.com/file/d/1sjhY0EJ4b1dzTL8s4I6kFsMqHOds3wEq/view?usp=sharing) - Meeuf, Russell. « Nuclear Epistemology : Apocalypticism, Knowledge, and the ‘Nuclear Uncanny’ in Kiss Me Deadly ». Lit : Literature Interpretation Theory 23, no. 3 (Été 2012) : 283-304. doi : https://doi.org/10.1080/10436928.2012.703593. (via : https://drive.google.com/file/d/1rVKdqo_Du8q-FbxoMvwc-ZIK-yMFtP6X/view?usp=sharing) - Schrader, Paul. « Notes on Film Noir. » In Film Noir Reader, édité par Alain Silver & James Ursini, 53-64. New-York : Limelight, 2006. (via https://drive.google.com/file/d/155yfdgCwmhdrDGrZFyWRatylaNKOyP2d/view?usp=sharing) - Telotte, J.P.. « Kiss Me Deadly’s Apocalyptic Discours ». Journal of Popular Film and Television 13, no.2 (1985) : 69-79. doi : 10.1080/01956051.1985.10661995 (via https://drive.google.com/file/d/1u1Q4HZaNm9d5taN1ayQGQoXcYmv1srTN/view?usp=sharing) NOTES https://drive.google.com/file/d/1FhuzTebVTaBlvROaSca7F-jhNcGV5ELS/view?usp=sharing
This one is about: Mae West - she's no angel, but when she's bad she's even better. Instagram: QandRpod Email: QueensandRebelspod@gmail.com Sources: - Curry, Ramona. "Mae West as Censored Commodity: The Case of "Klondike Annie"." Cinema Journal 31, no. 1 (1991): 57-84. - Hamilton, Marybeth. "Mae West Live: "SEX, The Drag, and 1920s Broadway"." TDR (1988-) 36, no. 4 (1992): 82-100. - Black, Gregory D. "Hollywood Censored: The Production Code Administration and the Hollywood Film Industry, 1930-1940." Film History 3, no. 3 (1989): 167-89. - https://www.vanityfair.com/hollywood/2020/06/mae-west-autobiography-scandal - https://www.americanheritage.com/immortality-mae-west#4
In this episode, we discuss the essential work of Jonas Mekas, author of the Cinema Journal column in the Village Voice, founder of the Anthology Film Archives, and torchbearer for experimental cinema. If you have any questions or comments, feel free to drop us a line at importantcinemaclubpodcast@gmail.com www.patreon.com/theimportantcinemaclub
First episode of our break takes on Bert I. Gordon's debut Z-feature "King Dinosaur," and explores questions of animal cruelty in commercial cinema.Works Cited:Glenn Erickson, "King Dinosaur," review for DVD Savant (2002)Dennis Fischer, "Science Fiction Film Directors, 1895 - 1998" (2011)Mark Thomas McGee, "Talk's Cheap, Action's Expensive: The Films of Robert L. Lippert" (2014)W.J.T. Mitchell, "The Last Dinosaur Book: The Life and Times of a Cultural Icon" (1998)Courtney E. White, " "The Utmost Care, Kindness, and Consideration": The MPPDA versus Allegations of Animal Abuse, 1923 - 1925," Cinema Journal, Vol. 55, No. 4 (Fall 2016)Donate to 70+ community bail, mutual aid, and racial justice organizing funds across the country: https://secure.actblue.com/donate/bailfundsgeorge_floydAll original music courtesy of Niel Jakobyhttps://nieljacoby.bandcamp.com/Patreon: https://www.patreon.com/MonsterCrazeMemoirsOfficialiTunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/monster-craze-memoirs/id1491963648Spotify: https://open.spotify.com/show/3aSrQ5JFez33XuVanaFYIwPocket Casts: https://pca.st/lkra63chSoundcloud: https://soundcloud.com/user-3949861YouTube: https://www.youtube.com/channel/UCBGcDWtQj2wGEnlAB7P4AFacebook: https://www.facebook.com/Monster-Craze-Memoirs-106199087480182/Twitter: https://twitter.com/KennethJWaste2
Playback is proud to present our first podcast! Welcome to Signals, a podcast produced by the graduate students in Communication Arts at the University of Wisconsin, Madison. Playback Audio features a diverse collection of reflections on media: interviews with emerging and distinguished scholars, discussions of media pedagogy, sound scholarship, audio essays, and more. Our first podcast features Matt Connolly, Ph.D. (Film), whose article “Liberating the Screen: Gay and Lesbian Protests of LGBT Cinematic Representation, 1969–1974” was recently published in the Winter 2018 issue of Cinema Journal. He's joined by Nick Benson, Ph.D. candidate (Media and Cultural Studies) for a conversation on his research, from its conception to the writing process to time management. Listen in for some awesome insights into queer media histories and pursuing the publishing process while dissertating!
Dr. Rick Worland received his M.A. and Ph.D. in motion picture/television critical studies from UCLA. His teaching has included courses on film history, documentary and silent cinema, as well as popular genres including Westerns, horror/science fiction, film noir, European cinema and the films of Alfred Hitchcock. His research has focused primarily on popular film and television in the Cold War period. Worland has published in various academic journals including Cinema Journal, Journal of Film & Video, Journal of Popular Film & Television and Film and History. His first book, The Horror Film: An Introduction, appeared in 2007 from Blackwell Publishing. His recent book, Searching for New Frontiers: Hollywood Films in the 1960s, was published by Wiley Blackwell in 2018. He was the 1997-98 Algur H. Meadows Distinguished Teaching Professor in the Meadows School of the Arts.
Podcast Description “When you are used to being dominant, equality looks like a loss.”Mel Stanfill is an Assistant Professor with a joint appointment in Texts and Technology and Games and Interactive Media at the University of Central Florida. Stanfill holds a PhD in Communications and Media from the University of Illinois, Urbana-Champaign. Stanfill’s research interrogates how the relationship between media industries and their audiences in the Internet era is shaped by labor, intellectual property law, consumption, heteronormativity, and whiteness, and has appeared in venues such as New Media and Society, Critical Studies in Media Communication, and Cinema Journal. Additional Resources On the Invention of whiteness:Roediger, David R. 1991. The Wages of Whiteness: Race and the Making of the American Working Class. London, UK: Verso. Amazon: https://www.amazon.com/Wages-Whiteness-Making-American-Working/dp/1844671453 Full text PDF: https://caringlabor.files.wordpress.com/2011/01/roediger-the-wages-of-whiteness-race-and-the-making-of-the-american-working-class.pdfBlack Internet Studies:Brock, André. 2012. “From the Blackhand Side: Twitter as a Cultural Conversation.” Journal of Broadcasting & Electronic Media 56 (4): 529–49. https://doi.org/10.1080/08838151.2012.732147.Steele, Catherine Knight. 2016. “The Digital Barbershop: Blogs and Online Oral Culture Within the African American Community.” Social Media + Society 2 (4): 2056305116683205. https://doi.org/10.1177/2056305116683205.Gray, Kishonna L. 2012. “Intersecting Oppressions and Online Communities.” Information, Communication & Society 15 (3): 411–28. https://doi.org/10.1080/1369118X.2011.642401.Intersectionality:Cohen, Cathy J. 1997. “Punks, Bulldaggers, and Welfare Queens: The Radical Potential of Queer Politics?” GLQ: A Journal of Lesbian and Gay Studies 3 (4): 437–65.https://read.dukeupress.edu/glq/article/3/4/437/9940/Punks-Bulldaggers-and-Welfare-Queens-The-Radicalhttps://archiveofourown.org/Safiya Umoja NobleNoble, Safiya Umoja. 2018. Algorithms of Oppression: How Search Engines Reinforce Racism. New York: NYU Press. https://nyupress.org/books/9781479837243/Introduction is free to read.Some of Safiya’s talks: https://safiyaunoble.com/talks/ Twitter Mel Stanfill Become a #causeascene Podcast sponsor because disruption and innovation are products of individuals who take bold steps in order to shift the collective and challenge the status quo.Learn more >All music for the #causeascene podcast is composed and produced by Chaos, Chao Pack, and Listen on SoundCloud. Listen to more great #causeascene podcasts full podcast list >
In our final episode of 2017, we feature an interview with outgoing Cinema Journal editor Will Brooker addressing the past and future of the Society for Cinema Studies’ journal. In addition, we feature an interview with Maggie Hennefeld on her work as co-chair of the Comedy and Humor Studies Scholarly Interest Group (SIG) and her upcoming book Specters of Slapstick and Silent Film Comediennes.
We’re back from the spring semester and talking about graduation and protest, balancing SCMS leadership and research, and a digital research project in transnational streaming radio for your summer listening. We discuss the recent Notre Dame student walkout before presenting an interview with Steven Cohan on his article in the latest issue of Cinema Journal on Danny Kaye, Cohan’s role as SCMS president, and the current functioning of the conference. Then we talk with Alec Badenoch on the web project Radio Garden (radio.garden) and its impact in radio studies and wide usage by listeners.
A discussion of the visionary film-making of Stanley Kubrick and his prescient observations about man and technology, with Fernando Castrillón, Psy.D., Dr Rodney Hill (The Stanley Kubrick Archives), Chris Noessel (Make It So: Interaction Design Lessons from Science Fiction), and artist Binta Ayofemi. Presented in conjunction with Stanley Kubrick: The Exhibition. Fernando Castrillon, Psy.D., presented "Digital Teleologies, Imperial Threshold Machinic Assemblages and the Colonization of the Cosmos: A Post-Structuralist Interpretation of Stanley Kubrick's 2001: A Space Odyssey" at Multiversy. Dr. Castrillon is a licensed clinical psychologist and associate professor in the Community Mental Health Program at the California Institute of Integral Studies (CIIS) and is the founding director of CIIS’ The Clinic Without Walls. Dr. Castrillon is also a candidate psychoanalyst and is on the editorial board of The European Journal of Psychoanalysis. His publications include a special double issue of ReVision, entitled “Ecopsychology"; an edited volume: Ecopsychology, Phenomenology, and the Environment: The Experience of Nature (Springer Press); Translating Angst: Symptoms and Inhibitions in Anglo-American Psychoanalysis and Feminine Pathologies. He is currently writing a book on psychoanalysis in California. Dr. Castrillon maintains a private psychoanalytic practice in the East Bay. Rodney F. Hill is co-author of The Encyclopedia of Stanley Kubrick and a contributor to several other books, including The Stanley Kubrick Archives (now in its third edition from Taschen) and The Essential Science-Fiction Television Reader. Hill is Assistant Professor of Film in the Lawrence Herbert School of Communication at Hofstra University, holds a PhD from the University of Kansas and an MA from the University of Wisconsin, Madison. His essays have appeared in Film Quarterly, Cinema Journal, Literature/Film Quarterly, and elsewhere. Chris Noessel is the author of Make It So: Interaction Design Lessons From Science Fiction. Noessel has developed interactive kiosks and spaces for museums, helped to visualize the future of counter-terrorism, built prototypes of coming technologies for Microsoft, and designed telehealth devices to accommodate modern healthcare. He is currently writing a book about the role of UX in narrow artificial intelligence. Binta Ayofemi is an artist and has presented her work at the Kadist Art Foundation, SFMOMA, Southern Exposure, The Carpenter Center, The Wattis Institute, the Asian Art Museum, The New Museum, and Chicago's Rebuild Foundation. Ayofemi's series Software, a rehearsal of utopian forms, from the Shakers to Soul Train, was initially featured in The Possible exhibition at the Berkeley Art Museum. Upcoming works include a series of urban gardens and tactile landscapes across adjacent lots in Oakland and Chicago, a Black Panther Garden, an urban kitchen, a Black Shaker farm and guild, and a general store. Ayofemi was a Stanford MFA in Art and a Harvard Design Fellow in architecture and urban landscape.
Starting with Milkbar set pieces, Dr. Rodney Hill discusses the spectacle of violence in Kubrick’s A Clockwork Orange. Rodney F. Hill, Assistant Professor of Film Studies at Hofstra University, holds a Ph.D. from the University of Kansas and an M.A. from the University of Wisconsin – Madison. He teaches various courses in film studies, on such topics as film authorship, film genres, and documentary film. Hill is co-author of THE FRANCIS FORD COPPOLA ENCYCLOPEDIA and THE ENCYCLOPEDIA OF STANLEY KUBRICK, co-editor of FRANCIS FORD COPPOLA: INTERVIEWS, and a contributor to several other books, including THE ESSENTIAL SCIENCE FICTION TELEVISION READER and THE STANLEY KUBRICK ARCHIVES. His essays have also appeared in _Film Quarterly_, _Cinema Journal_, _Literature/Film Quarterly_, and elsewhere. In addition to his academic experience, Rodney Hill worked for several years in film distribution and marketing, handling theatrical campaigns for various international, independent, and documentary films, including Edward Yang's YI YI, Chuck Workman’s THE SOURCE (starring Johnny Depp, John Turturro, and Dennis Hopper) and the Oscar-nominated ON THE ROPES. Prior to joining Hofstra's RTVF faculty in 2012, Dr. Hill taught film and English at several other institutions, including the Georgia Institute of Technology and the University of Paris XII - Val de Marne.
This episode features lots of great content to get you through your flight to Montreal. First we talk with Jon Lewis about his classic Cinema Journal article from 2000 about “How the Blacklist Saved Hollywood." Then media policy scholar Danny Kimball fills us in on the FCC's big network neutrality decision. Finally, after the most implausible segue in recorded human history, Casey McCormick and Eric Powell give you an invaluable guide to Montreal for the upcoming SCMS conference; check out their interactive map at http://bit.ly/1FeZgMg.
This month we bring you the great film scholar Thomas Elsaesser as part of our collaboration with the new Fieldnotes project. Fieldnotes is conducting oral histories with notable media scholars, so look for more great interviews in coming episodes, and listen to the full interviews at the SCMS website (http://www.cmstudies.org/?page=fieldnotes). We also have a fascinating conversation with Rielle Navitski about researching Latin American film history, based on her contribution to a recent “In Focus” section of Cinema Journal on the subject. And if that weren't enough, we're giving away a NEW CAR! All you have to do is be one of the first fifty to take the Aca-Media survey (https://www.surveymonkey.com/s/WJS89V6). Fair warning: Michael has not yet told us what kind of car he has in mind for us to give away. But please take the survey anyway.
Three Comparative Media Studies alums -- Sam Ford, Rekha Murthy, and Parmesh Shahani -- return to discuss their post-graduate lives. Sam Ford is Director of Audience Engagement at strategic communication and marketing firm Peppercomm. He is co-author of the 2013 book Spreadable Media and co-editor of the 2011 book The Survival of Soap Opera. Sam is a contributing author to Harvard Business Review, Fast Company, and Inc.; a research affiliate with MIT’s Program in Comparative Media Studies/Writing; and an instructor with Western Kentucky University’s Popular Culture Studies Program. Sam currently serves as Co-Chair of the Word of Mouth Marketing Association’s Ethics Committee. He has recently published work with The Journal of Fandom Studies, Panorama Social, Cinema Journal, The Journal of Digital & Social Media Marketing, Advertising Age, PRWeek, PR News, O’Dwyer PR, IABC Communication World, The Public Relations Strategist, PropertyCasualty360, Oxford University Press Bibliographies, and the NYU Press book, Making Media Work, among other outlets. He’s based in Bowling Green, Kentucky. Rekha Murthy is Director of Projects + Partnerships at PRX, where she finds innovative ways for public media stations and producers to reach audiences and earn revenue. Rekha runs PRX’s digital distribution program, where she forges new, non-broadcast pathways for audio works. These range from established channels like iTunes and Amazon, to aggregators like TuneIn and Stitcher, to entertainment and education services large and small. As part of PRX’s award-winning Apps team, Rekha has set new standards for public media’s mobile strategy and adoption with apps including the Public Radio Player, This American Life, and for major stations. She launched PRX’s iTunes distribution service, making independent productions and major national programs available for sale in the iTunes Store. Rekha advises various transmedia initiatives for public media and served on the board of the Integrated Media Association (now part of Greater Public). Before PRX, Rekha was a producer for NPR’s All Things Considered and an editor of NPR.org. She’s been a project manager and user experience designer for web and mobile clients. Parmesh Shahani, listed in 2012 as one of 25 Indians to watch out for by Financial Times, is the head of the Godrej India Culture Lab — an experimental idea-space that cross-pollinates the best ideas and people working on India from across the academic, creative and corporate worlds to explore what it means to be modern and Indian. In addition, Parmesh also serves as the Editor-at-large for Verve magazine, India. He is a Yale World Fellow, currently spending a semester in New Haven. He is also a World Economic Forum Young Global Leader, TED Fellow, and a Utrecht University-Impakt Fellow. Parmesh’s masters’ thesis at CMS was released as a book “Gay Bombay: Globalization, Love and (Be)Longing in Contemporary India” by Sage Publications in 2008. You can follow Parmesh on Twitter at @parmeshs.
How does an object set the limits for human experiences of will and subjecthood? How does an interface temper our desires for interactivity or intervention? A remote control appears to exert its user’s will over distant objects, yet the design and function of the device itself instill in its subject a vexed relationship to his or her own agency. Analyzing the technical and design evolution of these devices reveals how the seemingly most inconsequential of media devices have shaped the way users cohabit with mass media, consumer electronics, and each other. Caetlin Benson-Allott is Associate Professor of English and Film and Media Studies at Georgetown University. She is the author of Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (Berkeley: University of California Press, 2013) and Remote Control (New York: Bloomsbury Press, forthcoming 2015). Her articles have appeared in Cinema Journal, Jump Cut, Film Quarterly, South Atlantic Quarterly, Film Criticism, and The Quarterly Review of Film and Video as well as multiple anthologies. Co-sponsored with MIT Literature.
After a month's hiatus (lots of conference-going around here), Aca-Media is back! This month features Julie Wilson discussing her recent Cinema Journal article about celebrity activism. Then we bring you a roundtable on teaching experimental film and video that will interest you even if you never teach that topic--just lots of great insights into teaching media generally. Finally, Chris shares some of the shows she's most excited about viewing this summer.
After a long absence spent recovering from Episode 9, in which MOOC spores wiped the brains of film and media scholars everywhere, we're back up and running. This month we feature an interview with Mary Beltrán about Latinization and the Fast & Furious franchise, based on her two Cinema Journal articles on the topic (note: this segment was recorded before the death of Paul Walker). Then Jennifer Proctor reports on the 2013 University Film and Video Association conference. Finally, Chris and Michael reveal what might be the only way to enjoy 2 Broke Girls.
This is a great one, folks! We discuss the question of "industrial authorship" with Josh Heuman, who wrote a recent article in Cinema Journal on the topic. Then we bring you a roundtable discussion about the Trayvon Martin case, getting insights from Bambi Haggins, Miriam Petty, and Kristen Warner on what a Media Studies perspective can bring to the issue and how we might make sense of it as scholars, teachers, parents, and citizens. Plus Chris and Michael tell us about what the media they are consuming this month. Be sure to click through to the show notes for a "web extra"--a segment from the roundtable that was too long to include in the podcast version.
This episode features an interview with Paula Amad about her Cinema Journal article "Visual Riposte: Reconsidering the Return of the Gaze as Postcolonial Theory’s Gift to Film Studies." We also bring you a pedagogy roundtable on teaching with social media, as well as a new segment, "What We're Watching." Finally, we're still looking for contributors to our next Vox Scholari segment: What was a time when you were surprised in the classroom?
This episode features an interview with David Scott Diffrient about his recent Cinema Journal article on the controversial 1970 sex comedy Myra Breckinridge. We also bring you a report on the recent SCMS Undergraduate Conference held at Notre Dame, a "Vox Scholari" segment on the texts that got us interested in studying media, and an Aca-Media Bites in praise of administrative assistants.
In the Cold War years, there was a tremendous surge in right-wing broadcasting in America. Hendershot explains how radio and TV extremists feigned a “balanced” presentation of their ideas in the 1950s; in the 60s, those same broadcasters switched to an overtly right-wing line. Ultraconservative broadcasting was eventually shut down by the IRS, citizen activists, and the FCC. The Fairness Doctrine was the most powerful tool used against the extremists, and, thus, right-wing broadcasting was reborn when Reagan suspended the doctrine in 1987, enabling the rise of Rush Limbaugh, and Fox News shortly thereafter. Hendershot’s work thus provides useful context for understanding not only the history of the conservative movement but also the contemporary landscape. Heather Hendershot’s research centers on regulation, censorship, FCC policy, and conservative media and political movements. She is the editor of Nickelodeon Nation: The History, Politics and Economics of America’s Only TV Channel for Kids and the author of Saturday Morning Censors: Television Regulation before the V-Chip, Shaking the World for Jesus: Media and Conservative Evangelical Culture, and What’s Fair on the Air? Cold War Right-Wing Broadcasting and the Public Interest. She is also editor of Cinema Journal, the official publication of the Society for Cinema and Media Studies.
Dr. Fitzpatrick is author of The Anxiety of Obsolescence: The American Novel in the Age of Television, published in 2006 by Vanderbilt University Press, and of Planned Obsolescence: Publishing, Technology, and the Future of the Academy, forthcoming from NYU Press and previously made available for open peer review online (http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence). She is co-founder of the digital scholarly network MediaCommons (http://mediacommons.futureofthebook.org), and has published articles and notes in journals including the Journal of Electronic Publishing, PMLA, Contemporary Literature, and Cinema Journal. Presented by the Center for Latin American and Caribbean Studies and the John Hope Franklin Center for Interdisciplinary and INternational Studies with support from the Franklin Humanities Institute.
As ICT’s become available to new groups of users, notably those from the global South, new social formations of virtual labor, race, nation, and gender are being born. And if virtual world users’ claims to citizenship and sovereignty within them are to be taken seriously, so too must the question of “gray collar” or semi-legal virtual laborers and their social relations and cultural identity in these spaces. Just as labor migrants around the globe struggle to access a sense of belonging in alien territories, so too do virtual laborers, many of whom are East and South Asian, confront hostility and xenophobia in popular gaming worlds and virtual “workshops” such as World of Warcraft and Amazon’s Mechanical Turk. Do these users have the right to have rights? This presentation considers the affective investments and cultural identities of these workers within the virtual worlds where they labor. Lisa Nakamura is the Director of the Asian American Studies Program, Professor in the Institute of Communication Research and Media Studies Program and Professor of Asian American Studies at the University of Illinois, Urbana Champaign. She is the author of Digitizing Race: Visual Cultures of the Internet (University of Minnesota Press, 2007), Cybertypes: Race, Ethnicity, and Identity on the Internet (Routledge, 2002) and a co-editor of Race in Cyberspace (Routledge, 2000). She has published articles in Critical Studies in Media Communication, PMLA, Cinema Journal, The Women’s Review of Books, Camera Obscura, and the Iowa Journal of Cultural Studies. She is editing a collection with Peter Chow-White entitled Digital Race: An Anthology (Routledge, forthcoming) and is working on a new monograph on Massively Multiplayer Online Role playing games, the transnational racialized labor, and avatarial capital in a “postracial” world.
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