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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45376314/_Curated_Retrospective_Tijelo_kao_film_Body_as_Film_Body_and_Sexuality_in_Short_Feature_Film_ENG_HR_DHF_2015_">[Curated Retrospective] Tijelo kao film | Body as Film | Body and Sexuality in Short Feature Film [ENG/HR] [DHF, 2015.]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tijelo kao film | Body as Film | Body and Sexuality in Short Feature Film; Retrospective at Croatian Film Days 2015 curated by Željko Luketić. Featuring works from Ante Babaja, Miroslav Mikuljan, Mišo Budisavljević, Neven Korda, Tomislav... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45376314" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tijelo kao film | Body as Film | Body and Sexuality in Short Feature Film; Retrospective at Croatian Film Days 2015 curated by Željko Luketić. 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data-work_id="34673821" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34673821/A_History_of_Italian_Cinema">A History of Italian Cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema – which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34673821" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema – which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34673821" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8291b7159ce15a2182272ca4882054e1" rel="nofollow" data-download="{"attachment_id":54534110,"asset_id":34673821,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54534110/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1179420" href="https://chapman.academia.edu/FedericoPacchioni">Federico Pacchioni</a><script data-card-contents-for-user="1179420" type="text/json">{"id":1179420,"first_name":"Federico","last_name":"Pacchioni","domain_name":"chapman","page_name":"FedericoPacchioni","display_name":"Federico Pacchioni","profile_url":"https://chapman.academia.edu/FedericoPacchioni?f_ri=16055","photo":"https://0.academia-photos.com/1179420/422099/68982891/s65_federico.pacchioni.jpeg"}</script></span></span></li><li class="js-paper-rank-work_34673821 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34673821"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34673821, container: ".js-paper-rank-work_34673821", }); 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Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. 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Era</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this (very early) research paper, I explore the history of product placement, and argue that the famous deployment of Reese's Pieces in Spielberg's beloved feature film, E.T. The Extra-Terrestrial, while not a rupture, marks a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35514658" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this (very early) research paper, I explore the history of product placement, and argue that the famous deployment of Reese's Pieces in Spielberg's beloved feature film, E.T. The Extra-Terrestrial, while not a rupture, marks a significant pivot point in the development of the practice.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35514658" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e15aced734dc87f884fd182c0b476e13" rel="nofollow" data-download="{"attachment_id":55379734,"asset_id":35514658,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55379734/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13500333" href="https://carleton-ca.academia.edu/JasonRothery">Jason Rothery</a><script data-card-contents-for-user="13500333" type="text/json">{"id":13500333,"first_name":"Jason","last_name":"Rothery","domain_name":"carleton-ca","page_name":"JasonRothery","display_name":"Jason Rothery","profile_url":"https://carleton-ca.academia.edu/JasonRothery?f_ri=16055","photo":"https://0.academia-photos.com/13500333/5280981/19994344/s65_jason.rothery.jpg"}</script></span></span></li><li class="js-paper-rank-work_35514658 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35514658"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35514658, container: ".js-paper-rank-work_35514658", }); 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","downloadable_attachments":[{"id":55379734,"asset_id":35514658,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13500333,"first_name":"Jason","last_name":"Rothery","domain_name":"carleton-ca","page_name":"JasonRothery","display_name":"Jason Rothery","profile_url":"https://carleton-ca.academia.edu/JasonRothery?f_ri=16055","photo":"https://0.academia-photos.com/13500333/5280981/19994344/s65_jason.rothery.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=16055","nofollow":true},{"id":3637,"name":"Advertising","url":"https://www.academia.edu/Documents/in/Advertising?f_ri=16055","nofollow":true},{"id":8854,"name":"Historical Films","url":"https://www.academia.edu/Documents/in/Historical_Films?f_ri=16055","nofollow":true},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055"},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055"},{"id":45607,"name":"Product Placement","url":"https://www.academia.edu/Documents/in/Product_Placement?f_ri=16055"},{"id":191474,"name":"Steven Spielberg","url":"https://www.academia.edu/Documents/in/Steven_Spielberg?f_ri=16055"},{"id":388345,"name":"Product Placements","url":"https://www.academia.edu/Documents/in/Product_Placements?f_ri=16055"},{"id":492095,"name":"Advertising and Marketing Communications","url":"https://www.academia.edu/Documents/in/Advertising_and_Marketing_Communications?f_ri=16055"},{"id":588198,"name":"Advertising and Branding","url":"https://www.academia.edu/Documents/in/Advertising_and_Branding?f_ri=16055"},{"id":787736,"name":"E.T. the Extra-Terrestrial","url":"https://www.academia.edu/Documents/in/E.T._the_Extra-Terrestrial?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33845517" data-work_id="33845517" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33845517/La_conqu%C3%AAte_de_lOuest_am%C3%A9ricain_au_cin%C3%A9ma">La conquête de l'Ouest américain au cinéma</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33845517" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d7f6d7addb92c7cee07d9588e67615b9" rel="nofollow" data-download="{"attachment_id":53826676,"asset_id":33845517,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53826676/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8067823" href="https://ulb.academia.edu/QuentinDispas">Quentin Dispas</a><script data-card-contents-for-user="8067823" type="text/json">{"id":8067823,"first_name":"Quentin","last_name":"Dispas","domain_name":"ulb","page_name":"QuentinDispas","display_name":"Quentin Dispas","profile_url":"https://ulb.academia.edu/QuentinDispas?f_ri=16055","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_33845517 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33845517"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33845517, container: ".js-paper-rank-work_33845517", }); 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Exil. Europäische Emigranten im Film noir. Österreichisches Filmmuseum, Vienna, 1 - 23 March 1997.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12466283" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="69ceaa255096b6a3a60fd6cd468eed9c" rel="nofollow" data-download="{"attachment_id":37723417,"asset_id":12466283,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37723417/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31102473" href="https://univie.academia.edu/ChristianCargnelli">Christian Cargnelli</a><script data-card-contents-for-user="31102473" type="text/json">{"id":31102473,"first_name":"Christian","last_name":"Cargnelli","domain_name":"univie","page_name":"ChristianCargnelli","display_name":"Christian Cargnelli","profile_url":"https://univie.academia.edu/ChristianCargnelli?f_ri=16055","photo":"https://0.academia-photos.com/31102473/9179960/19644721/s65_christian.cargnelli.jpg"}</script></span></span></li><li class="js-paper-rank-work_12466283 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12466283"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12466283, container: ".js-paper-rank-work_12466283", }); 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$(".js-view-count[data-work-id=12466283]").text(description); $(".js-view-count-work_12466283").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12466283").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12466283"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">27</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="5301" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Genre">Film Genre</a>, <script data-card-contents-for-ri="5301" type="text/json">{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12002" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Noir">Film Noir</a>, <script data-card-contents-for-ri="12002" type="text/json">{"id":12002,"name":"Film Noir","url":"https://www.academia.edu/Documents/in/Film_Noir?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_History">Film History</a>, <script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a><script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12466283]'), work: {"id":12466283,"title":"Schatten. Exil. Europäische Emigranten im Film noir. Österreichisches Filmmuseum, Vienna, 1 - 23 March 1997.","created_at":"2015-05-19T08:27:30.729-07:00","url":"https://www.academia.edu/12466283/Schatten_Exil_Europ%C3%A4ische_Emigranten_im_Film_noir_%C3%96sterreichisches_Filmmuseum_Vienna_1_23_March_1997?f_ri=16055","dom_id":"work_12466283","summary":null,"downloadable_attachments":[{"id":37723417,"asset_id":12466283,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31102473,"first_name":"Christian","last_name":"Cargnelli","domain_name":"univie","page_name":"ChristianCargnelli","display_name":"Christian Cargnelli","profile_url":"https://univie.academia.edu/ChristianCargnelli?f_ri=16055","photo":"https://0.academia-photos.com/31102473/9179960/19644721/s65_christian.cargnelli.jpg"}],"research_interests":[{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=16055","nofollow":true},{"id":12002,"name":"Film Noir","url":"https://www.academia.edu/Documents/in/Film_Noir?f_ri=16055","nofollow":true},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=16055"},{"id":25392,"name":"Exile Cinema","url":"https://www.academia.edu/Documents/in/Exile_Cinema?f_ri=16055"},{"id":26093,"name":"Classical Hollywood","url":"https://www.academia.edu/Documents/in/Classical_Hollywood?f_ri=16055"},{"id":33867,"name":"Fritz Lang","url":"https://www.academia.edu/Documents/in/Fritz_Lang?f_ri=16055"},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=16055"},{"id":37615,"name":"Hugo Haas","url":"https://www.academia.edu/Documents/in/Hugo_Haas?f_ri=16055"},{"id":39869,"name":"Refugees","url":"https://www.academia.edu/Documents/in/Refugees?f_ri=16055"},{"id":40433,"name":"Weimar Cinema","url":"https://www.academia.edu/Documents/in/Weimar_Cinema?f_ri=16055"},{"id":45389,"name":"Transnational Cinema","url":"https://www.academia.edu/Documents/in/Transnational_Cinema?f_ri=16055"},{"id":47199,"name":"Hollywood","url":"https://www.academia.edu/Documents/in/Hollywood?f_ri=16055"},{"id":55565,"name":"Late 1940s Hollywood films","url":"https://www.academia.edu/Documents/in/Late_1940s_Hollywood_films?f_ri=16055"},{"id":78495,"name":"Max Ophuls","url":"https://www.academia.edu/Documents/in/Max_Ophuls?f_ri=16055"},{"id":81345,"name":"German Expressionist Film","url":"https://www.academia.edu/Documents/in/German_Expressionist_Film?f_ri=16055"},{"id":83447,"name":"Classical Hollywood Cinema","url":"https://www.academia.edu/Documents/in/Classical_Hollywood_Cinema?f_ri=16055"},{"id":153134,"name":"Film Genres","url":"https://www.academia.edu/Documents/in/Film_Genres?f_ri=16055"},{"id":153710,"name":"Billy Wilder","url":"https://www.academia.edu/Documents/in/Billy_Wilder?f_ri=16055"},{"id":243277,"name":"1940s Cinema","url":"https://www.academia.edu/Documents/in/1940s_Cinema?f_ri=16055"},{"id":393423,"name":"Cinema and Genre","url":"https://www.academia.edu/Documents/in/Cinema_and_Genre?f_ri=16055"},{"id":663739,"name":"Robert Siodmak","url":"https://www.academia.edu/Documents/in/Robert_Siodmak?f_ri=16055"},{"id":912450,"name":"Max Ophüls","url":"https://www.academia.edu/Documents/in/Max_Oph%C3%BCls?f_ri=16055"},{"id":1214223,"name":"Peter Lorre","url":"https://www.academia.edu/Documents/in/Peter_Lorre?f_ri=16055"},{"id":1901855,"name":"Otto Preminger","url":"https://www.academia.edu/Documents/in/Otto_Preminger?f_ri=16055"},{"id":1961282,"name":"Filmexil","url":"https://www.academia.edu/Documents/in/Filmexil?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15810602" data-work_id="15810602" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/15810602/Cinema_on_the_Periphery_Contemporary_Irish_and_Spanish_Cinema_Dublin_and_Oregon_Irish_Academic_Press_2010_">Cinema on the Periphery: Contemporary Irish and Spanish Cinema (Dublin and Oregon: Irish Academic Press, 2010)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book takes a comparative approach to contemporary Irish and Spanish cinema in order to examine the ways in which the films produced have been marked by Ireland and Spain’s distinctive encounters with modernity. In successive... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15810602" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book takes a comparative approach to contemporary Irish and Spanish cinema in order to examine the ways in which the films produced have been marked by Ireland and Spain’s distinctive encounters with modernity. In successive chapters, the book explores the representation of gender, sexuality, space and history within contemporary Irish and Spanish film, arguing that these representations should be read in relation to the particular process of modernisation which occurred within Ireland and Spain, whereby an insular, conservative national culture was supplanted within a short period of time by an urbanised, European secularism. Within these representations, it argues, can be uncovered attempts to reconstruct a national narrative within this new cultural context. It traces these cultural shifts through a detailed analysis of the aesthetic strategies and thematic concerns of the films which have emerged from Ireland and Spain over the last fifteen years. <br /> <br />By establishing specific idiosyncratic features shared by Irish and Spanish films, this book places Ireland’s cultural and cinematic development firmly within a European context. By concentrating on genre films, it illustrates how films which are not specifically concerned with issues of nation are nevertheless marked by their national context. Furthermore, it argues for the importance of reinstating the nation as an interpretative category, one which allows the assertion of a politicised national identity within an increasingly globalised entertainment cinema.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15810602" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b3911f5f1d025ede020f2ee72b50f54d" rel="nofollow" data-download="{"attachment_id":38801374,"asset_id":15810602,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38801374/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1268898" href="https://universityofgalway.academia.edu/ConnHolohan">Conn Holohan</a><script data-card-contents-for-user="1268898" type="text/json">{"id":1268898,"first_name":"Conn","last_name":"Holohan","domain_name":"universityofgalway","page_name":"ConnHolohan","display_name":"Conn Holohan","profile_url":"https://universityofgalway.academia.edu/ConnHolohan?f_ri=16055","photo":"https://0.academia-photos.com/1268898/10189343/11370768/s65_conn.holohan.jpg"}</script></span></span></li><li class="js-paper-rank-work_15810602 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15810602"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15810602, container: ".js-paper-rank-work_15810602", }); 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By concentrating on genre films, it illustrates how films which are not specifically concerned with issues of nation are nevertheless marked by their national context. Furthermore, it argues for the importance of reinstating the nation as an interpretative category, one which allows the assertion of a politicised national identity within an increasingly globalised entertainment cinema.","downloadable_attachments":[{"id":38801374,"asset_id":15810602,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1268898,"first_name":"Conn","last_name":"Holohan","domain_name":"universityofgalway","page_name":"ConnHolohan","display_name":"Conn Holohan","profile_url":"https://universityofgalway.academia.edu/ConnHolohan?f_ri=16055","photo":"https://0.academia-photos.com/1268898/10189343/11370768/s65_conn.holohan.jpg"}],"research_interests":[{"id":386,"name":"Irish Studies","url":"https://www.academia.edu/Documents/in/Irish_Studies?f_ri=16055","nofollow":true},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=16055","nofollow":true},{"id":1174,"name":"Spanish Studies","url":"https://www.academia.edu/Documents/in/Spanish_Studies?f_ri=16055","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=16055"},{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=16055"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=16055"},{"id":4290,"name":"National Cinemas","url":"https://www.academia.edu/Documents/in/National_Cinemas?f_ri=16055"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=16055"},{"id":6017,"name":"Spanish Cinema","url":"https://www.academia.edu/Documents/in/Spanish_Cinema?f_ri=16055"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies?f_ri=16055"},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055"},{"id":94509,"name":"Irish cinema","url":"https://www.academia.edu/Documents/in/Irish_cinema?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39751478" data-work_id="39751478" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39751478/De_Escipi%C3%B3n_a_Berlusconi_Una_historia_de_Italia_en_50_pel%C3%ADculas_Editorial_UOC_Universitat_Oberta_de_Catalunya_Barcelona_2019">De Escipión a Berlusconi. Una historia de Italia en 50 películas, Editorial UOC [Universitat Oberta de Catalunya], Barcelona, 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Texto en castellano DE ESCIPIÓN A BERLUSCONI. UNA HISTORIA DE ITALIA EN 50 PELÍCULAS Cuenta André Breton que, cuando el grupo surrealista acudía al cine, acostumbraba a entrar comenzada la proyección, y la abandonaba al poco tiempo... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39751478" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Texto en castellano <br /> <br />DE ESCIPIÓN A BERLUSCONI. UNA HISTORIA DE ITALIA EN 50 PELÍCULAS <br />Cuenta André Breton que, cuando el grupo surrealista acudía al cine, acostumbraba a entrar comenzada la proyección, y la abandonaba al poco tiempo para volver a irrumpir en otra sala, donde se exhibía otra película, en cualquier momento de la función. Al final de la jornada, las secuencias dispersas, cubiertos los huecos en la imaginación, iban construyendo en la memoria un nuevo argumento, a partir de la lógica irracional, fragmentaria y elíptica del inconsciente. Algo de la visión «sonámbula», y profundamente liberadora, que reivindicaba el surrealismo, subyace en el viaje por el imaginario histórico a través del cine italiano que recorre las páginas de este libro. Los autores proponen un itinerario punteado de elipsis, saltos, pasadizos subterráneos, flashbacks y flashforwards, un recorrido transhistórico que se apoya en el asincronismo entre el tiempo que señalan las tramas, a partir del cual se ha ordenado la selección de los films, y el de su producción y estreno en sala. En resumen, lo que este volumen plantea es una de tantas historias posibles de Italia —tantas como antologías probables— a través del objetivo de la cámara.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39751478" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f3a3269d2a5fdd4e64f8cd034e2032c5" rel="nofollow" data-download="{"attachment_id":59932159,"asset_id":39751478,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59932159/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31297836" href="https://pisa.academia.edu/ValerioCarando">Valerio Carando</a><script data-card-contents-for-user="31297836" type="text/json">{"id":31297836,"first_name":"Valerio","last_name":"Carando","domain_name":"pisa","page_name":"ValerioCarando","display_name":"Valerio Carando","profile_url":"https://pisa.academia.edu/ValerioCarando?f_ri=16055","photo":"https://0.academia-photos.com/31297836/9215536/10274993/s65_valerio.carando.jpg"}</script></span></span></li><li class="js-paper-rank-work_39751478 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39751478"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39751478, container: ".js-paper-rank-work_39751478", }); 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$(".js-view-count[data-work-id=39751478]").text(description); $(".js-view-count-work_39751478").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39751478").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39751478"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1744" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_European_History_">Italian (European History)</a>, <script data-card-contents-for-ri="1744" type="text/json">{"id":1744,"name":"Italian (European History)","url":"https://www.academia.edu/Documents/in/Italian_European_History_?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2428" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Italian_Cinema">Popular Italian Cinema</a>, <script data-card-contents-for-ri="2428" type="text/json">{"id":2428,"name":"Popular Italian Cinema","url":"https://www.academia.edu/Documents/in/Popular_Italian_Cinema?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10691" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_Cinema">Italian Cinema</a>, <script data-card-contents-for-ri="10691" type="text/json">{"id":10691,"name":"Italian Cinema","url":"https://www.academia.edu/Documents/in/Italian_Cinema?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a><script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39751478]'), work: {"id":39751478,"title":"De Escipión a Berlusconi. Una historia de Italia en 50 películas, Editorial UOC [Universitat Oberta de Catalunya], Barcelona, 2019","created_at":"2019-07-04T13:00:27.938-07:00","url":"https://www.academia.edu/39751478/De_Escipi%C3%B3n_a_Berlusconi_Una_historia_de_Italia_en_50_pel%C3%ADculas_Editorial_UOC_Universitat_Oberta_de_Catalunya_Barcelona_2019?f_ri=16055","dom_id":"work_39751478","summary":"Texto en castellano \r\n\r\nDE ESCIPIÓN A BERLUSCONI. UNA HISTORIA DE ITALIA EN 50 PELÍCULAS\r\nCuenta André Breton que, cuando el grupo surrealista acudía al cine, acostumbraba a entrar comenzada la proyección, y la abandonaba al poco tiempo para volver a irrumpir en otra sala, donde se exhibía otra película, en cualquier momento de la función. Al final de la jornada, las secuencias dispersas, cubiertos los huecos en la imaginación, iban construyendo en la memoria un nuevo argumento, a partir de la lógica irracional, fragmentaria y elíptica del inconsciente. Algo de la visión «sonámbula», y profundamente liberadora, que reivindicaba el surrealismo, subyace en el viaje por el imaginario histórico a través del cine italiano que recorre las páginas de este libro. Los autores proponen un itinerario punteado de elipsis, saltos, pasadizos subterráneos, flashbacks y flashforwards, un recorrido transhistórico que se apoya en el asincronismo entre el tiempo que señalan las tramas, a partir del cual se ha ordenado la selección de los films, y el de su producción y estreno en sala. En resumen, lo que este volumen plantea es una de tantas historias posibles de Italia —tantas como antologías probables— a través del objetivo de la cámara. 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Additionally, the methods of and rationale for folk science are neglected by folklorists perhaps because, as David Hufford writes in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_70289048" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">UFOs, ESP, Bigfoot, often the subjects of folk science, are rarely investigated by normal science. Additionally, the methods of and rationale for folk science are neglected by folklorists perhaps because, as David Hufford writes in "Traditions of Disbelief," academics have presumed at the onset that the beliefs held by its proponents are in error.  Whether or not the beliefs held by folk science are in error is less relevant to the study of folklore than an understanding of the import of those beliefs, the relationship between folk science and belief legend, and the conflict between folk science and normal science.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/70289048" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ccfc89c928951ac75bcb06a149ed54a9" rel="nofollow" data-download="{"attachment_id":80100393,"asset_id":70289048,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/80100393/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="46387918" href="https://osu1.academia.edu/LindaOxleyMilligan">Linda Oxley Milligan</a><script data-card-contents-for-user="46387918" type="text/json">{"id":46387918,"first_name":"Linda","last_name":"Oxley Milligan","domain_name":"osu1","page_name":"LindaOxleyMilligan","display_name":"Linda Oxley Milligan","profile_url":"https://osu1.academia.edu/LindaOxleyMilligan?f_ri=16055","photo":"https://0.academia-photos.com/46387918/72495713/60961366/s65_linda.oxley_milligan.jpg"}</script></span></span></li><li class="js-paper-rank-work_70289048 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="70289048"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 70289048, container: ".js-paper-rank-work_70289048", }); 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Additionally, the methods of and rationale for folk science are neglected by folklorists perhaps because, as David Hufford writes in \"Traditions of Disbelief,\" academics have presumed at the onset that the beliefs held by its proponents are in error. 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Blizu devedesetoj, i dalje živo komentira i prati zbivanja u svijetu i Francuskoj. 1 Okrenut prema svjetskim zbivanjima, svoje znanje o povijesti i prošlosti pokušava iskoristiti u svrhu općeg boljitka u društvu. Zvanje... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30226179" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">predaje. Blizu devedesetoj, i dalje živo komentira i prati zbivanja u svijetu i Francuskoj. 1 Okrenut prema svjetskim zbivanjima, svoje znanje o povijesti i prošlosti pokušava iskoristiti u svrhu općeg boljitka u društvu. Zvanje povjesničara nikada na shvaća isključivo kroz zatvorena istraživanja, već veliku pozornost posvećuje popularizaciji, brizi za ulogu povijesti u školstvu i javnim istupima kao angažirani intelektualac. 2 Uvijek otvoren za razgovor, Ferro dotiče teška pitanja iz prošlosti bez straha, vjerujući kako povjesničar treba biti otvoren prema javnosti i djelovati kao angažirani intelektualac. Ako je ideal "nove mediteranske kulture" Alberta Camusa 3 ikada bio dosežan, Marc Ferro ga je svojim radom zasigurno ostvario.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30226179" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c26409ff8ebe38f36c96ab86edf6b33e" rel="nofollow" data-download="{"attachment_id":50685039,"asset_id":30226179,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50685039/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11986024" href="https://ffzg.academia.edu/FilipSimetin">Filip Šimetin Šegvić</a><script data-card-contents-for-user="11986024" type="text/json">{"id":11986024,"first_name":"Filip","last_name":"Šimetin Šegvić","domain_name":"ffzg","page_name":"FilipSimetin","display_name":"Filip Šimetin Šegvić","profile_url":"https://ffzg.academia.edu/FilipSimetin?f_ri=16055","photo":"https://0.academia-photos.com/11986024/3444744/15880621/s65_filip._imetin_egvi_.jpg"}</script></span></span></li><li class="js-paper-rank-work_30226179 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30226179"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30226179, container: ".js-paper-rank-work_30226179", }); 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Blizu devedesetoj, i dalje živo komentira i prati zbivanja u svijetu i Francuskoj. 1 Okrenut prema svjetskim zbivanjima, svoje znanje o povijesti i prošlosti pokušava iskoristiti u svrhu općeg boljitka u društvu. Zvanje povjesničara nikada na shvaća isključivo kroz zatvorena istraživanja, već veliku pozornost posvećuje popularizaciji, brizi za ulogu povijesti u školstvu i javnim istupima kao angažirani intelektualac. 2 Uvijek otvoren za razgovor, Ferro dotiče teška pitanja iz prošlosti bez straha, vjerujući kako povjesničar treba biti otvoren prema javnosti i djelovati kao angažirani intelektualac. Ako je ideal \"nove mediteranske kulture\" Alberta Camusa 3 ikada bio dosežan, Marc Ferro ga je svojim radom zasigurno ostvario.","downloadable_attachments":[{"id":50685039,"asset_id":30226179,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11986024,"first_name":"Filip","last_name":"Šimetin Šegvić","domain_name":"ffzg","page_name":"FilipSimetin","display_name":"Filip Šimetin Šegvić","profile_url":"https://ffzg.academia.edu/FilipSimetin?f_ri=16055","photo":"https://0.academia-photos.com/11986024/3444744/15880621/s65_filip._imetin_egvi_.jpg"}],"research_interests":[{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":25166,"name":"20th Century","url":"https://www.academia.edu/Documents/in/20th_Century?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3270812" data-work_id="3270812" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3270812/_Archiwista_narodzin_i_smierci_Jutrzenka_i_mise_en_mort_w_historiografiach_wloskiego_neorealizmu_Kwartalnik_Filmowy_67_68_Fall_2009_190_210">“Archiwista narodzin i smierci: Jutrzenka i mise-en-mort w historiografiach wloskiego neorealizmu.” Kwartalnik Filmowy 67-68 (Fall 2009): 190-210. </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Jutrzenka i mise-en-mort w historiografiach włoskiego neorealizmu STEFANO CIAMMARONI</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3270812" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f2972b5e1146eb21184a6223d5538cb1" rel="nofollow" data-download="{"attachment_id":31116160,"asset_id":3270812,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31116160/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3766987" href="https://arts-london.academia.edu/StefanoCiammaroni">Stefano Ciammaroni</a><script data-card-contents-for-user="3766987" type="text/json">{"id":3766987,"first_name":"Stefano","last_name":"Ciammaroni","domain_name":"arts-london","page_name":"StefanoCiammaroni","display_name":"Stefano Ciammaroni","profile_url":"https://arts-london.academia.edu/StefanoCiammaroni?f_ri=16055","photo":"https://0.academia-photos.com/3766987/10523854/11743898/s65_stefano.ciammaroni.jpg"}</script></span></span></li><li class="js-paper-rank-work_3270812 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3270812"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3270812, container: ".js-paper-rank-work_3270812", }); 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$(".js-view-count[data-work-id=3270812]").text(description); $(".js-view-count-work_3270812").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3270812").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3270812"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a>, <script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35201" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_cinema_Film_Studies_">Italian cinema (Film Studies)</a>, <script data-card-contents-for-ri="35201" type="text/json">{"id":35201,"name":"Italian cinema (Film Studies)","url":"https://www.academia.edu/Documents/in/Italian_cinema_Film_Studies_?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="37692" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_neorealist_cinema">Italian neorealist cinema</a><script data-card-contents-for-ri="37692" type="text/json">{"id":37692,"name":"Italian neorealist cinema","url":"https://www.academia.edu/Documents/in/Italian_neorealist_cinema?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3270812]'), work: {"id":3270812,"title":"“Archiwista narodzin i smierci: Jutrzenka i mise-en-mort w historiografiach wloskiego neorealizmu.” Kwartalnik Filmowy 67-68 (Fall 2009): 190-210. ","created_at":"2013-04-12T00:07:07.522-07:00","url":"https://www.academia.edu/3270812/_Archiwista_narodzin_i_smierci_Jutrzenka_i_mise_en_mort_w_historiografiach_wloskiego_neorealizmu_Kwartalnik_Filmowy_67_68_Fall_2009_190_210?f_ri=16055","dom_id":"work_3270812","summary":"Jutrzenka i mise-en-mort w historiografiach włoskiego neorealizmu STEFANO CIAMMARONI","downloadable_attachments":[{"id":31116160,"asset_id":3270812,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3766987,"first_name":"Stefano","last_name":"Ciammaroni","domain_name":"arts-london","page_name":"StefanoCiammaroni","display_name":"Stefano Ciammaroni","profile_url":"https://arts-london.academia.edu/StefanoCiammaroni?f_ri=16055","photo":"https://0.academia-photos.com/3766987/10523854/11743898/s65_stefano.ciammaroni.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":35201,"name":"Italian cinema (Film Studies)","url":"https://www.academia.edu/Documents/in/Italian_cinema_Film_Studies_?f_ri=16055","nofollow":true},{"id":37692,"name":"Italian neorealist cinema","url":"https://www.academia.edu/Documents/in/Italian_neorealist_cinema?f_ri=16055","nofollow":true},{"id":87793,"name":"Andre Bazin","url":"https://www.academia.edu/Documents/in/Andre_Bazin?f_ri=16055"},{"id":196866,"name":"Roberto Rossellini","url":"https://www.academia.edu/Documents/in/Roberto_Rossellini?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_75707631" data-work_id="75707631" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/75707631/The_Empire_Strikes_Back_Russian_National_Cinema_After_2005">The Empire Strikes Back. Russian National Cinema After 2005</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Empire Strikes Back. Russian National Cinema After 2005The paper provides critical analysis of the latest wave of Russian national cinema (2005-2013), considered one of key instruments of Vladimir Putin’s nation-building cultural... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_75707631" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Empire Strikes Back. Russian National Cinema After 2005The paper provides critical analysis of the latest wave of Russian national cinema (2005-2013), considered one of key instruments of Vladimir Putin’s nation-building cultural policy. The analysis, focused mostly on historical film and war film, reveals the concept of an ‘imperial nation’ as the main concept underlying this policy. The new Russian nation-concept is calculated to binding elements from two former Russian imperial traditions: tradition of the Russian Empire and the Soviet tradition, thus trying to overcome the identity crisis in contemporary Russia. Imperium kontratakuje. Rosyjskie kino narodowe po 2005 rokuArtykuł zajmuje się krytyczną analizą filmów najnowszej fali rosyjskiego kina narodowego (2005-2013), uważanej tu za jedno z kluczowych narzędzi polityki kulturalnej Władimira Putina obliczonej na budowanie narodu. Autorzy artykułu skupiają się przede wszystkim na filmie historycznym i wojennym, odsłaniając p...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/75707631" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a62d3093bd557d3f674ec854f10d975e" rel="nofollow" data-download="{"attachment_id":83370583,"asset_id":75707631,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/83370583/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6982279" href="https://uw.academia.edu/TomaszRawski">Tomasz Rawski</a><script data-card-contents-for-user="6982279" type="text/json">{"id":6982279,"first_name":"Tomasz","last_name":"Rawski","domain_name":"uw","page_name":"TomaszRawski","display_name":"Tomasz Rawski","profile_url":"https://uw.academia.edu/TomaszRawski?f_ri=16055","photo":"https://0.academia-photos.com/6982279/2756078/21045571/s65_tomasz.rawski.jpg"}</script></span></span></li><li class="js-paper-rank-work_75707631 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="75707631"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 75707631, container: ".js-paper-rank-work_75707631", }); 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Russian National Cinema After 2005","created_at":"2022-04-07T03:11:56.202-07:00","url":"https://www.academia.edu/75707631/The_Empire_Strikes_Back_Russian_National_Cinema_After_2005?f_ri=16055","dom_id":"work_75707631","summary":"The Empire Strikes Back. Russian National Cinema After 2005The paper provides critical analysis of the latest wave of Russian national cinema (2005-2013), considered one of key instruments of Vladimir Putin’s nation-building cultural policy. The analysis, focused mostly on historical film and war film, reveals the concept of an ‘imperial nation’ as the main concept underlying this policy. The new Russian nation-concept is calculated to binding elements from two former Russian imperial traditions: tradition of the Russian Empire and the Soviet tradition, thus trying to overcome the identity crisis in contemporary Russia. Imperium kontratakuje. Rosyjskie kino narodowe po 2005 rokuArtykuł zajmuje się krytyczną analizą filmów najnowszej fali rosyjskiego kina narodowego (2005-2013), uważanej tu za jedno z kluczowych narzędzi polityki kulturalnej Władimira Putina obliczonej na budowanie narodu. Autorzy artykułu skupiają się przede wszystkim na filmie historycznym i wojennym, odsłaniając p...","downloadable_attachments":[{"id":83370583,"asset_id":75707631,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6982279,"first_name":"Tomasz","last_name":"Rawski","domain_name":"uw","page_name":"TomaszRawski","display_name":"Tomasz Rawski","profile_url":"https://uw.academia.edu/TomaszRawski?f_ri=16055","photo":"https://0.academia-photos.com/6982279/2756078/21045571/s65_tomasz.rawski.jpg"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=16055","nofollow":true},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=16055","nofollow":true},{"id":5778,"name":"Russian Nationalism","url":"https://www.academia.edu/Documents/in/Russian_Nationalism?f_ri=16055","nofollow":true},{"id":5878,"name":"Nationalism","url":"https://www.academia.edu/Documents/in/Nationalism?f_ri=16055","nofollow":true},{"id":10349,"name":"Politics and Film","url":"https://www.academia.edu/Documents/in/Politics_and_Film?f_ri=16055"},{"id":12874,"name":"Russian Film","url":"https://www.academia.edu/Documents/in/Russian_Film?f_ri=16055"},{"id":15342,"name":"Aesthetics and Politics","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Politics?f_ri=16055"},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055"},{"id":52277,"name":"Russian Cinema","url":"https://www.academia.edu/Documents/in/Russian_Cinema?f_ri=16055"},{"id":134143,"name":"Politics of Memory","url":"https://www.academia.edu/Documents/in/Politics_of_Memory?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_76671958" data-work_id="76671958" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/76671958/Brown_gaze_and_white_flesh_exploring_moments_of_the_single_white_female_in_Hindi_cinema">Brown gaze and white flesh: exploring ‘moments’ of the single white female in Hindi cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper posits that the contemporary (re)configuration of the generic white woman of Hindi cinema solely as a spectacle was produced by the nationalist discourse during the colonial encounter. This essay explores both the textual... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_76671958" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper posits that the contemporary (re)configuration of the generic white woman of Hindi cinema solely as a spectacle was produced by the nationalist discourse during the colonial encounter. This essay explores both the textual analyses and aesthetic strategies employed in the construction of national imagery of white female subjectivities. My approach is twofold: (i) to chart the historical specificities of the representational construct of the white woman through discontinuous changes occurring across Bombay cinema, and (ii) to explore the white female subjectivities across specific historical and cultural milieu. This paper probes the historicity of the ‘Otherness’ of the white woman in Hindi cinema reviews and re-examines how Hindi cinema constitutes female whiteness. I posit that the representation of the white woman in Hindi cinema as promiscuous and sexually available was constructed within the nationalist discourse of the colonial era and is a continuation of the white memsahib in her absence. It is my position that all that was ‘repressed’ in the Hindu woman resurfaces in the white woman – the racial, sexual ‘Other’, onto whom everything repressed within the self could be projected.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/76671958" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="168502" href="https://manuu.academia.edu/MerajMubarki">Meraj A H M E D Mubarki</a><script data-card-contents-for-user="168502" type="text/json">{"id":168502,"first_name":"Meraj","last_name":"Mubarki","domain_name":"manuu","page_name":"MerajMubarki","display_name":"Meraj A H M E D Mubarki","profile_url":"https://manuu.academia.edu/MerajMubarki?f_ri=16055","photo":"https://0.academia-photos.com/168502/2875266/90859664/s65_meraj.mubarki.jpg"}</script></span></span></li><li class="js-paper-rank-work_76671958 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="76671958"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 76671958, container: ".js-paper-rank-work_76671958", }); 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$(".js-view-count[data-work-id=76671958]").text(description); $(".js-view-count-work_76671958").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_76671958").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="76671958"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" rel="nofollow" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a><script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=76671958]'), work: {"id":76671958,"title":"Brown gaze and white flesh: exploring ‘moments’ of the single white female in Hindi cinema","created_at":"2022-04-16T22:36:12.503-07:00","url":"https://www.academia.edu/76671958/Brown_gaze_and_white_flesh_exploring_moments_of_the_single_white_female_in_Hindi_cinema?f_ri=16055","dom_id":"work_76671958","summary":"This paper posits that the contemporary (re)configuration of the generic white woman of Hindi cinema solely as a spectacle was produced by the nationalist discourse during the colonial encounter. This essay explores both the textual analyses and aesthetic strategies employed in the construction of national imagery of white female subjectivities. My approach is twofold: (i) to chart the historical specificities of the representational construct of the white woman through discontinuous changes occurring across Bombay cinema, and (ii) to explore the white female subjectivities across specific historical and cultural milieu. This paper probes the historicity of the ‘Otherness’ of the white woman in Hindi cinema reviews and re-examines how Hindi cinema constitutes female whiteness. I posit that the representation of the white woman in Hindi cinema as promiscuous and sexually available was constructed within the nationalist discourse of the colonial era and is a continuation of the white memsahib in her absence. It is my position that all that was ‘repressed’ in the Hindu woman resurfaces in the white woman – the racial, sexual ‘Other’, onto whom everything repressed within the self could be projected.","downloadable_attachments":[],"ordered_authors":[{"id":168502,"first_name":"Meraj","last_name":"Mubarki","domain_name":"manuu","page_name":"MerajMubarki","display_name":"Meraj A H M E D Mubarki","profile_url":"https://manuu.academia.edu/MerajMubarki?f_ri=16055","photo":"https://0.academia-photos.com/168502/2875266/90859664/s65_meraj.mubarki.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=16055","nofollow":true},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=16055","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=16055","nofollow":true},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=16055"},{"id":4195,"name":"Cultural Theory","url":"https://www.academia.edu/Documents/in/Cultural_Theory?f_ri=16055"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=16055"},{"id":7490,"name":"Gender Equality","url":"https://www.academia.edu/Documents/in/Gender_Equality?f_ri=16055"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055"},{"id":14998,"name":"Gender and Sexuality Studies","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality_Studies?f_ri=16055"},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=16055"},{"id":23342,"name":"Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Cultural_Anthropology?f_ri=16055"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=16055"},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=16055"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=16055"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=16055"},{"id":80095,"name":"Gaze","url":"https://www.academia.edu/Documents/in/Gaze?f_ri=16055"},{"id":121601,"name":"Cross cultural studies","url":"https://www.academia.edu/Documents/in/Cross_cultural_studies?f_ri=16055"},{"id":681202,"name":"Contemporary South Asia","url":"https://www.academia.edu/Documents/in/Contemporary_South_Asia?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37616463" data-work_id="37616463" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37616463/Global_Cinema_Networks">Global Cinema Networks</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection’s esteemed contributors excavate sites of global... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37616463" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection’s esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from “international” to “world” to “transnational” to “global” frames.  <br />Table of Contents<br /><br />Chapter 1: Introduction: Global Cinemas in a Time of Networks<br />Elena Gorfinkel, King’s College London (U.K.)<br /><br />Part 1: Cartographies, Geopolitics, Aesthetics<br /><br />Chapter 2: Beyond and Beneath the Map of World Cinema<br />Dudley Andrew, Yale University<br /><br />Chapter 3: Frame<br />Adrian Martin, Monash University (Australia)<br /><br />Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China<br />John David Rhodes, University of Cambridge<br /><br />Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary<br />James Tweedie, University of Washington<br /><br />Part 2: Global Ideality, History, Representation<br /><br />Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France<br />Laurent Guido, University of Lille (France)<br /><br />Chapter 7: When Cinema was Humanism<br />Karl Schoonover, University of Warwick<br /><br />Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation<br />N. Frank Ukadike, Tulane University, New Orleans<br /><br />Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema<br />Patricia White, Swarthmore College<br /><br />Part 3: Kinships, Identifications, Genres<br /><br />Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema<br />Luisela Alvaray, DePaul University<br /><br />Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance<br />Peter Y. Paik, Yonsei University (Korea)<br /><br />Chapter 12: The Queer Mexican Cinema of Julián Hernández<br />Gilberto M. Blasini, University of Wisconsin–Milwaukee<br /><br />Chapter 13: The Gangster Film as World Cinema<br />Jian Xu, University of Wisconsin–Milwaukee<br /><br />Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema<br />Tami Williams, University of Wisconsin–Milwaukee<br /><br /><a href="https://www.rutgersuniversitypress.org/global-cinema-networks/9780813592725" rel="nofollow">https://www.rutgersuniversitypress.org/global-cinema-networks/9780813592725</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37616463" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="328c373c039bc5048701aa9a261d22b2" rel="nofollow" data-download="{"attachment_id":57599321,"asset_id":37616463,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57599321/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7581933" href="https://kcl.academia.edu/ElenaGorfinkel">Elena Gorfinkel</a><script data-card-contents-for-user="7581933" type="text/json">{"id":7581933,"first_name":"Elena","last_name":"Gorfinkel","domain_name":"kcl","page_name":"ElenaGorfinkel","display_name":"Elena Gorfinkel","profile_url":"https://kcl.academia.edu/ElenaGorfinkel?f_ri=16055","photo":"https://0.academia-photos.com/7581933/2742492/3195214/s65_elena.gorfinkel.jpg"}</script></span></span></li><li class="js-paper-rank-work_37616463 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37616463"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37616463, container: ".js-paper-rank-work_37616463", }); 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$(".js-view-count[data-work-id=37616463]").text(description); $(".js-view-count-work_37616463").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37616463").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37616463"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1439" rel="nofollow" href="https://www.academia.edu/Documents/in/Globalization">Globalization</a>, <script data-card-contents-for-ri="1439" type="text/json">{"id":1439,"name":"Globalization","url":"https://www.academia.edu/Documents/in/Globalization?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3116" rel="nofollow" href="https://www.academia.edu/Documents/in/Space_and_Place">Space and Place</a><script data-card-contents-for-ri="3116" type="text/json">{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37616463]'), work: {"id":37616463,"title":"Global Cinema Networks","created_at":"2018-10-20T06:42:20.501-07:00","url":"https://www.academia.edu/37616463/Global_Cinema_Networks?f_ri=16055","dom_id":"work_37616463","summary":"Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection’s esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from “international” to “world” to “transnational” to “global” frames. \nTable of Contents\n\nChapter 1: Introduction: Global Cinemas in a Time of Networks\nElena Gorfinkel, King’s College London (U.K.)\n\nPart 1: Cartographies, Geopolitics, Aesthetics\n\nChapter 2: Beyond and Beneath the Map of World Cinema\nDudley Andrew, Yale University\n\nChapter 3: Frame\nAdrian Martin, Monash University (Australia)\n\nChapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China\nJohn David Rhodes, University of Cambridge\n\nChapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary\nJames Tweedie, University of Washington\n\nPart 2: Global Ideality, History, Representation\n\nChapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France\nLaurent Guido, University of Lille (France)\n\nChapter 7: When Cinema was Humanism\nKarl Schoonover, University of Warwick\n\nChapter 8: African Cinema: Digital Media and Expanding Frames of Representation\nN. Frank Ukadike, Tulane University, New Orleans\n\nChapter 9: Changing Circumstances: Global Flows of Lesbian Cinema\nPatricia White, Swarthmore College\n\nPart 3: Kinships, Identifications, Genres\n\nChapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema\nLuisela Alvaray, DePaul University\n\nChapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance\nPeter Y. Paik, Yonsei University (Korea)\n\nChapter 12: The Queer Mexican Cinema of Julián Hernández\nGilberto M. Blasini, University of Wisconsin–Milwaukee\n\nChapter 13: The Gangster Film as World Cinema\nJian Xu, University of Wisconsin–Milwaukee\n\nChapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema\nTami Williams, University of Wisconsin–Milwaukee\n\nhttps://www.rutgersuniversitypress.org/global-cinema-networks/9780813592725","downloadable_attachments":[{"id":57599321,"asset_id":37616463,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7581933,"first_name":"Elena","last_name":"Gorfinkel","domain_name":"kcl","page_name":"ElenaGorfinkel","display_name":"Elena Gorfinkel","profile_url":"https://kcl.academia.edu/ElenaGorfinkel?f_ri=16055","photo":"https://0.academia-photos.com/7581933/2742492/3195214/s65_elena.gorfinkel.jpg"}],"research_interests":[{"id":1439,"name":"Globalization","url":"https://www.academia.edu/Documents/in/Globalization?f_ri=16055","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=16055","nofollow":true},{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=16055","nofollow":true},{"id":5299,"name":"Latin-American Film","url":"https://www.academia.edu/Documents/in/Latin-American_Film?f_ri=16055"},{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=16055"},{"id":8218,"name":"Networks","url":"https://www.academia.edu/Documents/in/Networks?f_ri=16055"},{"id":9437,"name":"Urbanism","url":"https://www.academia.edu/Documents/in/Urbanism?f_ri=16055"},{"id":10691,"name":"Italian Cinema","url":"https://www.academia.edu/Documents/in/Italian_Cinema?f_ri=16055"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055"},{"id":12960,"name":"German Cinema","url":"https://www.academia.edu/Documents/in/German_Cinema?f_ri=16055"},{"id":15997,"name":"Global Cinemas","url":"https://www.academia.edu/Documents/in/Global_Cinemas?f_ri=16055"},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055"},{"id":19468,"name":"Chinese Cinema","url":"https://www.academia.edu/Documents/in/Chinese_Cinema?f_ri=16055"},{"id":25107,"name":"Film Aesthetics","url":"https://www.academia.edu/Documents/in/Film_Aesthetics?f_ri=16055"},{"id":25639,"name":"African cinema","url":"https://www.academia.edu/Documents/in/African_cinema?f_ri=16055"},{"id":38198,"name":"Queer Cinema","url":"https://www.academia.edu/Documents/in/Queer_Cinema?f_ri=16055"},{"id":48174,"name":"Temporality","url":"https://www.academia.edu/Documents/in/Temporality?f_ri=16055"},{"id":51922,"name":"Film Criticism","url":"https://www.academia.edu/Documents/in/Film_Criticism?f_ri=16055"},{"id":73968,"name":"World Cinema","url":"https://www.academia.edu/Documents/in/World_Cinema?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38482264" data-work_id="38482264" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38482264/Modernization_and_Turkish_Cinema">Modernization and Turkish Cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Although the modernization process had begun in Western Europe, it has expanded and affected Turkish society deeply like the rest of the world. The question of modernity appears in various representation medium as much as it appears in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38482264" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Although the modernization process had begun in Western Europe, it has expanded and affected Turkish society deeply like the rest of the world. The question of modernity appears in various representation medium as much as it appears in the different social structure entities. In this research, it is approached to modernization – cinema relationship as a two-way relationship. Firstly, Republican modernization process’s approach to cinema and cinema’s position in this movement until the 1950s is analyzed through a historical, social, and economic perspective. Secondly, it is analyzed the representation of modernity, modernization and modernization thought in this era’s Turkish films, around the historical-social conditions and the modernization discussions of the period. Previously, in order to achieve this goal and defining a theoretical frame, concepts in modernization, modernization thought, and processes are discussed.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38482264" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c7706fe68ecdca2f8863e3df67b07816" rel="nofollow" data-download="{"attachment_id":58548572,"asset_id":38482264,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58548572/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26017" href="https://yasar.academia.edu/CagriInceoglu">Çağrı İnceoğlu</a><script data-card-contents-for-user="26017" type="text/json">{"id":26017,"first_name":"Çağrı","last_name":"İnceoğlu","domain_name":"yasar","page_name":"CagriInceoglu","display_name":"Çağrı İnceoğlu","profile_url":"https://yasar.academia.edu/CagriInceoglu?f_ri=16055","photo":"https://0.academia-photos.com/26017/8496/34452559/s65_cagri.inceoglu.jpg"}</script></span></span></li><li class="js-paper-rank-work_38482264 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38482264"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38482264, container: ".js-paper-rank-work_38482264", }); 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$(".js-view-count[data-work-id=38482264]").text(description); $(".js-view-count-work_38482264").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38482264").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38482264"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="7064" rel="nofollow" href="https://www.academia.edu/Documents/in/Modernization">Modernization</a>, <script data-card-contents-for-ri="7064" type="text/json">{"id":7064,"name":"Modernization","url":"https://www.academia.edu/Documents/in/Modernization?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10758" rel="nofollow" href="https://www.academia.edu/Documents/in/Modernity">Modernity</a>, <script data-card-contents-for-ri="10758" type="text/json">{"id":10758,"name":"Modernity","url":"https://www.academia.edu/Documents/in/Modernity?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_History">Film History</a>, <script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a><script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38482264]'), work: {"id":38482264,"title":"Modernization and Turkish Cinema","created_at":"2019-03-04T02:22:44.125-08:00","url":"https://www.academia.edu/38482264/Modernization_and_Turkish_Cinema?f_ri=16055","dom_id":"work_38482264","summary":"Although the modernization process had begun in Western Europe, it has expanded and affected Turkish society deeply like the rest of the world. The question of modernity appears in various representation medium as much as it appears in the different social structure entities. In this research, it is approached to modernization – cinema relationship as a two-way relationship. Firstly, Republican modernization process’s approach to cinema and cinema’s position in this movement until the 1950s is analyzed through a historical, social, and economic perspective. Secondly, it is analyzed the representation of modernity, modernization and modernization thought in this era’s Turkish films, around the historical-social conditions and the modernization discussions of the period. Previously, in order to achieve this goal and defining a theoretical frame, concepts in modernization, modernization thought, and processes are discussed.","downloadable_attachments":[{"id":58548572,"asset_id":38482264,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26017,"first_name":"Çağrı","last_name":"İnceoğlu","domain_name":"yasar","page_name":"CagriInceoglu","display_name":"Çağrı İnceoğlu","profile_url":"https://yasar.academia.edu/CagriInceoglu?f_ri=16055","photo":"https://0.academia-photos.com/26017/8496/34452559/s65_cagri.inceoglu.jpg"}],"research_interests":[{"id":7064,"name":"Modernization","url":"https://www.academia.edu/Documents/in/Modernization?f_ri=16055","nofollow":true},{"id":10758,"name":"Modernity","url":"https://www.academia.edu/Documents/in/Modernity?f_ri=16055","nofollow":true},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29565947" data-work_id="29565947" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29565947/Schooling_in_Modernity_The_Politics_of_Sponsored_Films_in_Postwar_Italy_by_Paola_Bonifazio">Schooling in Modernity: The Politics of Sponsored Films in Postwar Italy, by Paola Bonifazio</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29565947" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a309768d8cb1f56e44fed46926fa3bcd" rel="nofollow" data-download="{"attachment_id":50007285,"asset_id":29565947,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50007285/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2888076" href="https://nottinghamtrent.academia.edu/GianlucaFantoni">Gianluca Fantoni</a><script data-card-contents-for-user="2888076" type="text/json">{"id":2888076,"first_name":"Gianluca","last_name":"Fantoni","domain_name":"nottinghamtrent","page_name":"GianlucaFantoni","display_name":"Gianluca Fantoni","profile_url":"https://nottinghamtrent.academia.edu/GianlucaFantoni?f_ri=16055","photo":"https://0.academia-photos.com/2888076/14699160/15526134/s65_gianluca.fantoni.jpg"}</script></span></span></li><li class="js-paper-rank-work_29565947 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29565947"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29565947, container: ".js-paper-rank-work_29565947", }); 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$(".js-view-count[data-work-id=29565947]").text(description); $(".js-view-count-work_29565947").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29565947").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29565947"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" rel="nofollow" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10691" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_Cinema">Italian Cinema</a>, <script data-card-contents-for-ri="10691" type="text/json">{"id":10691,"name":"Italian Cinema","url":"https://www.academia.edu/Documents/in/Italian_Cinema?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a><script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29565947]'), work: {"id":29565947,"title":"Schooling in Modernity: The Politics of Sponsored Films in Postwar Italy, by Paola Bonifazio","created_at":"2016-10-31T07:39:26.505-07:00","url":"https://www.academia.edu/29565947/Schooling_in_Modernity_The_Politics_of_Sponsored_Films_in_Postwar_Italy_by_Paola_Bonifazio?f_ri=16055","dom_id":"work_29565947","summary":null,"downloadable_attachments":[{"id":50007285,"asset_id":29565947,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2888076,"first_name":"Gianluca","last_name":"Fantoni","domain_name":"nottinghamtrent","page_name":"GianlucaFantoni","display_name":"Gianluca Fantoni","profile_url":"https://nottinghamtrent.academia.edu/GianlucaFantoni?f_ri=16055","photo":"https://0.academia-photos.com/2888076/14699160/15526134/s65_gianluca.fantoni.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=16055","nofollow":true},{"id":10691,"name":"Italian Cinema","url":"https://www.academia.edu/Documents/in/Italian_Cinema?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40459108" data-work_id="40459108" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40459108/O_alvorecer_do_cinema_no_litoral_catarinense_o_caso_da_Liga_Josephense_1910_1923_">O alvorecer do cinema no litoral catarinense: o caso da Liga Josephense (1910-1923)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumo: O presente artigo busca entender como o cinema se desenvolveu no litoral catarinense nas duas primeiras duas décadas do século XX, em especial, na cidade de São José. Para isso, analisaremos fontes de jornais, atas de reuniões e... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40459108" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumo: O presente artigo busca entender como o cinema se desenvolveu no litoral catarinense nas duas primeiras duas décadas do século XX, em especial, na cidade de São José. Para isso, analisaremos fontes de jornais, atas de reuniões e as atividades da associação católica denominada Liga Josephense que esteve presente entre os anos de 1910 a 1923. Outro ponto de destaque, é compreender como a Liga através de sua rede de contatos nas mais variadas esferas da sociedade, utilizou do cinema para obter lucro e grande prestígio social, entendendo que a mesma estava inserida em uma conjuntura maior que o ambiente local. Palavras-chave: Cinema; São José-SC; Liga Josephense.<br /><br />The dawn of cinema on the coast of Santa Catarina: the case of the Josephense League (1910-1923) <br /><br /> Abstract: This article seeks to understand how cinema was developed in the Santa Catarina coast in the first two decades of the twentieth century, especially in the city of São José. For this, we will analyze newspaper sources, meeting minutes and the activities of the Catholic association denominated Liga Josephense that was present between the years of 1910 to 1923. Another important point is to understand how the League through its network of contacts in varied layers of society, used cinema to obtain profit and great social prestige, understanding that it was inserted in a bigger conjuncture than the local environment.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40459108" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bf9a2a9e75a5ac2fbe8a47206bec2f4a" rel="nofollow" data-download="{"attachment_id":60723744,"asset_id":40459108,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60723744/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="67511276" href="https://ufsc.academia.edu/GustavoShigunov">Gustavo Shigunov</a><script data-card-contents-for-user="67511276" type="text/json">{"id":67511276,"first_name":"Gustavo","last_name":"Shigunov","domain_name":"ufsc","page_name":"GustavoShigunov","display_name":"Gustavo Shigunov","profile_url":"https://ufsc.academia.edu/GustavoShigunov?f_ri=16055","photo":"https://0.academia-photos.com/67511276/17664567/97518269/s65_gustavo.shigunov.jpg"}</script></span></span></li><li class="js-paper-rank-work_40459108 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40459108"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40459108, container: ".js-paper-rank-work_40459108", }); 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Para isso, analisaremos fontes de jornais, atas de reuniões e as atividades da associação católica denominada Liga Josephense que esteve presente entre os anos de 1910 a 1923. Outro ponto de destaque, é compreender como a Liga através de sua rede de contatos nas mais variadas esferas da sociedade, utilizou do cinema para obter lucro e grande prestígio social, entendendo que a mesma estava inserida em uma conjuntura maior que o ambiente local. Palavras-chave: Cinema; São José-SC; Liga Josephense.\n\nThe dawn of cinema on the coast of Santa Catarina: the case of the Josephense League (1910-1923) \n\n Abstract: This article seeks to understand how cinema was developed in the Santa Catarina coast in the first two decades of the twentieth century, especially in the city of São José. For this, we will analyze newspaper sources, meeting minutes and the activities of the Catholic association denominated Liga Josephense that was present between the years of 1910 to 1923. 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Dialogo con Alberto Fasulo, regista, in "Museikon", 4 (2020), pp. 307-325.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Intervista a tre voci ad Alberto Fasulo, regista del film "Menocchio" (2018), opera ispirata alla vicenda del mugnaio friulano Domenico Scandella, che nel tardo Cinquecento fu sottoposto ad Inquisizione e a condanna.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44831816" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9204b1694d1835655c9af5f06129baf2" rel="nofollow" data-download="{"attachment_id":65335957,"asset_id":44831816,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65335957/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13240752" href="https://independent.academia.edu/FrancescaTasca">Francesca B . Tasca</a><script data-card-contents-for-user="13240752" type="text/json">{"id":13240752,"first_name":"Francesca","last_name":"Tasca","domain_name":"independent","page_name":"FrancescaTasca","display_name":"Francesca B . 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href="https://www.academia.edu/1873268/_Injustice_for_All_The_Politics_of_Creativity_in_the_Commercial_Hollywood_Cinema">… Injustice for All: The Politics of Creativity in the Commercial Hollywood Cinema</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1873268" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e4cf323195694f74dfc7c38a706dfc88" rel="nofollow" data-download="{"attachment_id":33893352,"asset_id":1873268,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40296479/Hist%C3%B3ria_e_Audiovisual_forma%C3%A7%C3%A3o_e_percursos_de_um_grupo_de_pesquisa">História e Audiovisual: formação e percursos de um grupo de pesquisa</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O artigo recupera a trajetória do Grupo de Pesquisa CNPq “História e Audiovisual: circularidades e formas de comunicação”, identificando as principais questões de método que orientam sua produção intelectual. Elenca os resultados obtidos... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40296479" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O artigo recupera a trajetória do Grupo de Pesquisa<br />CNPq “História e Audiovisual: circularidades e formas de<br />comunicação”, identificando as principais questões de método<br />que orientam sua produção intelectual. Elenca os resultados<br />obtidos ao longo de seus quinze anos de existência e sintetiza os<br />principais avanços obtidos no campo.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40296479" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4babead0d72c4e4d582f0ef994dbc20a" rel="nofollow" data-download="{"attachment_id":60535629,"asset_id":40296479,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60535629/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1074201" href="https://usp-br.academia.edu/EduardoMorettin">Eduardo Morettin</a><script data-card-contents-for-user="1074201" type="text/json">{"id":1074201,"first_name":"Eduardo","last_name":"Morettin","domain_name":"usp-br","page_name":"EduardoMorettin","display_name":"Eduardo Morettin","profile_url":"https://usp-br.academia.edu/EduardoMorettin?f_ri=16055","photo":"https://0.academia-photos.com/1074201/1218304/31665133/s65_eduardo.morettin.jpg"}</script></span></span></li><li class="js-paper-rank-work_40296479 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40296479"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40296479, container: ".js-paper-rank-work_40296479", }); 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Elenca os resultados\nobtidos ao longo de seus quinze anos de existência e sintetiza os\nprincipais avanços obtidos no campo.","downloadable_attachments":[{"id":60535629,"asset_id":40296479,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1074201,"first_name":"Eduardo","last_name":"Morettin","domain_name":"usp-br","page_name":"EduardoMorettin","display_name":"Eduardo Morettin","profile_url":"https://usp-br.academia.edu/EduardoMorettin?f_ri=16055","photo":"https://0.academia-photos.com/1074201/1218304/31665133/s65_eduardo.morettin.jpg"}],"research_interests":[{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and 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href="https://www.academia.edu/1712637/Rewriting_European_History_on_Film_An_Essay_Review">Rewriting European History on Film: An Essay Review</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A review of recent publications on the representation of history on film, arguing that there is more continuity in the ways in which filmmakers imagine their audiences than recent critics imagine.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1712637" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="729fadd6af1e3ba6e010f83333dde7ae" 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History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="26510" rel="nofollow" href="https://www.academia.edu/Documents/in/Interdisciplinary_Studies">Interdisciplinary Studies</a><script data-card-contents-for-ri="26510" type="text/json">{"id":26510,"name":"Interdisciplinary Studies","url":"https://www.academia.edu/Documents/in/Interdisciplinary_Studies?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1712637]'), work: {"id":1712637,"title":"Rewriting European History on Film: An Essay Review","created_at":"2012-02-02T16:05:18.273-08:00","url":"https://www.academia.edu/1712637/Rewriting_European_History_on_Film_An_Essay_Review?f_ri=16055","dom_id":"work_1712637","summary":"A review of recent publications on the representation of history on film, arguing that there is more continuity in the ways in which filmmakers imagine their audiences than recent critics imagine.","downloadable_attachments":[{"id":30163153,"asset_id":1712637,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":219655,"first_name":"Laurence","last_name":"Raw","domain_name":"baskent","page_name":"LaurenceRaw","display_name":"Laurence Raw","profile_url":"https://baskent.academia.edu/LaurenceRaw?f_ri=16055","photo":"https://0.academia-photos.com/219655/62909/18041625/s65_laurence.raw.jpg"}],"research_interests":[{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":26510,"name":"Interdisciplinary Studies","url":"https://www.academia.edu/Documents/in/Interdisciplinary_Studies?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1239278" data-work_id="1239278" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1239278/Politika_%C3%A9s_%C3%BAtkeres%C3%A9s_a_70_es_%C3%A9vek_spanyol_filmm%C5%B1v%C3%A9szet%C3%A9ben">Politika és útkeresés a 70-es évek spanyol filmművészetében </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">published in: Mediterrán Világ, No. 12. 2009. 91-104. <br />Politics and new directions in Spanish cinema of the 1970s / Política y nuevos rumbos en el cine español de los años 70</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm 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class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1052752" href="https://u-szeged.academia.edu/Andr%C3%A1sL%C3%A9n%C3%A1rt">András Lénárt</a><script data-card-contents-for-user="1052752" type="text/json">{"id":1052752,"first_name":"András","last_name":"Lénárt","domain_name":"u-szeged","page_name":"AndrásLénárt","display_name":"András Lénárt","profile_url":"https://u-szeged.academia.edu/Andr%C3%A1sL%C3%A9n%C3%A1rt?f_ri=16055","photo":"https://0.academia-photos.com/1052752/656197/38154941/s65_andr_s.l_n_rt.jpg"}</script></span></span></li><li class="js-paper-rank-work_1239278 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1239278"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { 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data-card-contents-for-ri="6017" type="text/json">{"id":6017,"name":"Spanish Cinema","url":"https://www.academia.edu/Documents/in/Spanish_Cinema?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10349" rel="nofollow" href="https://www.academia.edu/Documents/in/Politics_and_Film">Politics and Film</a>, <script data-card-contents-for-ri="10349" type="text/json">{"id":10349,"name":"Politics and Film","url":"https://www.academia.edu/Documents/in/Politics_and_Film?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a>, <script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="346200" rel="nofollow" href="https://www.academia.edu/Documents/in/Spanyol_Film">Spanyol Film</a><script data-card-contents-for-ri="346200" type="text/json">{"id":346200,"name":"Spanyol Film","url":"https://www.academia.edu/Documents/in/Spanyol_Film?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1239278]'), work: {"id":1239278,"title":"Politika és útkeresés a 70-es évek spanyol filmművészetében ","created_at":"2012-06-19T21:46:30.377-07:00","url":"https://www.academia.edu/1239278/Politika_%C3%A9s_%C3%BAtkeres%C3%A9s_a_70_es_%C3%A9vek_spanyol_filmm%C5%B1v%C3%A9szet%C3%A9ben?f_ri=16055","dom_id":"work_1239278","summary":"published in: Mediterrán Világ, No. 12. 2009. 91-104.\r\nPolitics and new directions in Spanish cinema of the 1970s / Política y nuevos rumbos en el cine español de los años 70 \r\n","downloadable_attachments":[{"id":38170008,"asset_id":1239278,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1052752,"first_name":"András","last_name":"Lénárt","domain_name":"u-szeged","page_name":"AndrásLénárt","display_name":"András Lénárt","profile_url":"https://u-szeged.academia.edu/Andr%C3%A1sL%C3%A9n%C3%A1rt?f_ri=16055","photo":"https://0.academia-photos.com/1052752/656197/38154941/s65_andr_s.l_n_rt.jpg"}],"research_interests":[{"id":6017,"name":"Spanish Cinema","url":"https://www.academia.edu/Documents/in/Spanish_Cinema?f_ri=16055","nofollow":true},{"id":10349,"name":"Politics and Film","url":"https://www.academia.edu/Documents/in/Politics_and_Film?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":346200,"name":"Spanyol Film","url":"https://www.academia.edu/Documents/in/Spanyol_Film?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33884216" data-work_id="33884216" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33884216/Django_Unchained_and_cinematic_power_ppt">Django Unchained and cinematic power.ppt</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Conference presentation</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33884216" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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class="u-tcGrayDark u-fw700" data-has-card-for-user="21770301" href="https://independent.academia.edu/YaelMaurer">Yael Maurer</a><script data-card-contents-for-user="21770301" type="text/json">{"id":21770301,"first_name":"Yael","last_name":"Maurer","domain_name":"independent","page_name":"YaelMaurer","display_name":"Yael Maurer","profile_url":"https://independent.academia.edu/YaelMaurer?f_ri=16055","photo":"https://0.academia-photos.com/21770301/28192637/26401888/s65_yael.maurer.jpg"}</script></span></span></li><li class="js-paper-rank-work_33884216 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33884216"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33884216, container: ".js-paper-rank-work_33884216", }); });</script></li><li class="js-percentile-work_33884216 InlineList-item InlineList-item--bordered hidden 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rel="nofollow" href="https://www.academia.edu/Documents/in/Race_and_Ethnicity">Race and Ethnicity</a>, <script data-card-contents-for-ri="5453" type="text/json">{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a>, <script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19258" rel="nofollow" href="https://www.academia.edu/Documents/in/Cinema">Cinema</a><script data-card-contents-for-ri="19258" 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Maurer","profile_url":"https://independent.academia.edu/YaelMaurer?f_ri=16055","photo":"https://0.academia-photos.com/21770301/28192637/26401888/s65_yael.maurer.jpg"}],"research_interests":[{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=16055","nofollow":true},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36752732" data-work_id="36752732" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36752732/Szymala_J_Na_Zachodzie_bez_zmian_Historia_powie%C5%9B%C4%87_film_w_J_Szymala_Film_Historia_Turystyka_Krak%C3%B3w_2016_s_101_128">Szymala J., Na Zachodzie bez zmian. Historia, powieść, film [w:] J. Szymala, Film – Historia – Turystyka, Kraków 2016, s. 101-128.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Opracowanie zostało opublikowane w 2016 r., a więc nie mogło być w nim wzmianki o filmie, którego premiera planowana jest na 2020 r. Oczywiście chętnie napiszę także o nowej wersji, w której Stanisława Kaczyńskiego gra odtwórca roli... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36752732" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Opracowanie zostało opublikowane w 2016 r., a więc nie mogło być w nim wzmianki o filmie, którego premiera planowana jest na 2020 r. Oczywiście chętnie napiszę także o nowej wersji, w której Stanisława Kaczyńskiego gra odtwórca roli Ragnara z "Wikingów". Jestem także otwarty na propozycje i zaproszenia.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36752732" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="076c2560952a5a8558de4d5118f58bd8" rel="nofollow" data-download="{"attachment_id":56698447,"asset_id":36752732,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56698447/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="80861769" href="https://independent.academia.edu/JacekSzymala">Jacek Szymala</a><script data-card-contents-for-user="80861769" type="text/json">{"id":80861769,"first_name":"Jacek","last_name":"Szymala","domain_name":"independent","page_name":"JacekSzymala","display_name":"Jacek Szymala","profile_url":"https://independent.academia.edu/JacekSzymala?f_ri=16055","photo":"https://0.academia-photos.com/80861769/24176075/94181703/s65_jacek.szymala.jpg"}</script></span></span></li><li class="js-paper-rank-work_36752732 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36752732"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36752732, container: ".js-paper-rank-work_36752732", }); 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$(".js-view-count[data-work-id=36752732]").text(description); $(".js-view-count-work_36752732").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36752732").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36752732"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8079" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Adaptation">Film Adaptation</a>, <script data-card-contents-for-ri="8079" type="text/json">{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_History">Film History</a>, <script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14482" rel="nofollow" href="https://www.academia.edu/Documents/in/World_War_I">World War I</a>, <script data-card-contents-for-ri="14482" type="text/json">{"id":14482,"name":"World War I","url":"https://www.academia.edu/Documents/in/World_War_I?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a><script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36752732]'), work: {"id":36752732,"title":"Szymala J., Na Zachodzie bez zmian. Historia, powieść, film [w:] J. Szymala, Film – Historia – Turystyka, Kraków 2016, s. 101-128.","created_at":"2018-05-31T03:25:15.402-07:00","url":"https://www.academia.edu/36752732/Szymala_J_Na_Zachodzie_bez_zmian_Historia_powie%C5%9B%C4%87_film_w_J_Szymala_Film_Historia_Turystyka_Krak%C3%B3w_2016_s_101_128?f_ri=16055","dom_id":"work_36752732","summary":"Opracowanie zostało opublikowane w 2016 r., a więc nie mogło być w nim wzmianki o filmie, którego premiera planowana jest na 2020 r. Oczywiście chętnie napiszę także o nowej wersji, w której Stanisława Kaczyńskiego gra odtwórca roli Ragnara z \"Wikingów\". Jestem także otwarty na propozycje i zaproszenia.","downloadable_attachments":[{"id":56698447,"asset_id":36752732,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":80861769,"first_name":"Jacek","last_name":"Szymala","domain_name":"independent","page_name":"JacekSzymala","display_name":"Jacek Szymala","profile_url":"https://independent.academia.edu/JacekSzymala?f_ri=16055","photo":"https://0.academia-photos.com/80861769/24176075/94181703/s65_jacek.szymala.jpg"}],"research_interests":[{"id":8079,"name":"Film Adaptation","url":"https://www.academia.edu/Documents/in/Film_Adaptation?f_ri=16055","nofollow":true},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055","nofollow":true},{"id":14482,"name":"World War I","url":"https://www.academia.edu/Documents/in/World_War_I?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":49791,"name":"Visual History","url":"https://www.academia.edu/Documents/in/Visual_History?f_ri=16055"},{"id":400634,"name":"Erich María Remarque","url":"https://www.academia.edu/Documents/in/Erich_Maria_Remarque?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_50548782 coauthored" data-work_id="50548782" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/50548782/Signos_sob_efeito_de_um_poderoso_psicotr%C3%B3pico_Bacurau_como_sism%C3%B3grafo">Signos sob efeito de um poderoso psicotrópico: Bacurau como sismógrafo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Este trabalho pretende elaborar uma reflexão sobre a expansão dos sentidos por meio do filme Bacurau, entendido como um texto cultural em que vibra uma intensa potência política. Assim, o artigo interroga as configurações sígnicas e os... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_50548782" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Este trabalho pretende elaborar uma reflexão sobre a expansão dos sentidos por meio do filme Bacurau, entendido como um texto cultural em que vibra uma intensa potência política. Assim, o artigo interroga as configurações sígnicas e os processos de semiose e enunciação que atravessam o filme, articulando-o com diferentes textos, tanto da contemporaneidade quanto de histórias e memórias que a constituem, no intuito de situar a potência política dessa obra cinematográfica. Nesse sentido, o artigo argumenta que Bacurau pode ser compreendido como um sismógrafo, na medida em que não apenas registra e representa signos da contemporaneidade e do passado, mas também oferece vislumbres de um futuro. Se a hipótese deste artigo estiver correta, a potência política que vibra em Bacurau deve ser compreendida a partir de uma perspectiva ao mesmo tempo sincrônica (a partir da relação texto-contexto), diacrônica (a partir das transformações históricas que condicionam o filme) e anacrônica (a partir de uma arqueologia da enunciação e do sensível).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/50548782" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2b6599d3afb7899e229db02270092615" rel="nofollow" data-download="{"attachment_id":68488078,"asset_id":50548782,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68488078/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2035253" href="https://ufba.academia.edu/F%C3%A1bioNakagawa">Fabio Sadao Nakagawa</a><script data-card-contents-for-user="2035253" type="text/json">{"id":2035253,"first_name":"Fabio Sadao","last_name":"Nakagawa","domain_name":"ufba","page_name":"FábioNakagawa","display_name":"Fabio Sadao Nakagawa","profile_url":"https://ufba.academia.edu/F%C3%A1bioNakagawa?f_ri=16055","photo":"https://0.academia-photos.com/2035253/33739230/153794271/s65_fabio_sadao.nakagawa.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-50548782">+3</span><div class="hidden js-additional-users-50548782"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ufba.academia.edu/MarceloRSRibeiro">Marcelo R. S. Ribeiro</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ufrb.academia.edu/RenataGomes">Renata Gomes</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ufba.academia.edu/TarcisioCardoso">Tarcisio Cardoso</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-50548782'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-50548782').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_50548782 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="50548782"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 50548782, container: ".js-paper-rank-work_50548782", }); });</script></li><li class="js-percentile-work_50548782 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50548782; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_50548782"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_50548782 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="50548782"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50548782; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50548782]").text(description); $(".js-view-count-work_50548782").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_50548782").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="50548782"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10349" rel="nofollow" href="https://www.academia.edu/Documents/in/Politics_and_Film">Politics and Film</a><script data-card-contents-for-ri="10349" type="text/json">{"id":10349,"name":"Politics and Film","url":"https://www.academia.edu/Documents/in/Politics_and_Film?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=50548782]'), work: {"id":50548782,"title":"Signos sob efeito de um poderoso psicotrópico: Bacurau como sismógrafo","created_at":"2021-08-01T15:09:05.058-07:00","url":"https://www.academia.edu/50548782/Signos_sob_efeito_de_um_poderoso_psicotr%C3%B3pico_Bacurau_como_sism%C3%B3grafo?f_ri=16055","dom_id":"work_50548782","summary":"Este trabalho pretende elaborar uma reflexão sobre a expansão dos sentidos por meio do filme Bacurau, entendido como um texto cultural em que vibra uma intensa potência política. Assim, o artigo interroga as configurações sígnicas e os processos de semiose e enunciação que atravessam o filme, articulando-o com diferentes textos, tanto da contemporaneidade quanto de histórias e memórias que a constituem, no intuito de situar a potência política dessa obra cinematográfica. Nesse sentido, o artigo argumenta que Bacurau pode ser compreendido como um sismógrafo, na medida em que não apenas registra e representa signos da contemporaneidade e do passado, mas também oferece vislumbres de um futuro. Se a hipótese deste artigo estiver correta, a potência política que vibra em Bacurau deve ser compreendida a partir de uma perspectiva ao mesmo tempo sincrônica (a partir da relação texto-contexto), diacrônica (a partir das transformações históricas que condicionam o filme) e anacrônica (a partir de uma arqueologia da enunciação e do sensível).","downloadable_attachments":[{"id":68488078,"asset_id":50548782,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2035253,"first_name":"Fabio Sadao","last_name":"Nakagawa","domain_name":"ufba","page_name":"FábioNakagawa","display_name":"Fabio Sadao Nakagawa","profile_url":"https://ufba.academia.edu/F%C3%A1bioNakagawa?f_ri=16055","photo":"https://0.academia-photos.com/2035253/33739230/153794271/s65_fabio_sadao.nakagawa.jpg"},{"id":109005919,"first_name":"Marcelo","last_name":"R. S. Ribeiro","domain_name":"ufba","page_name":"MarceloRSRibeiro","display_name":"Marcelo R. S. Ribeiro","profile_url":"https://ufba.academia.edu/MarceloRSRibeiro?f_ri=16055","photo":"https://0.academia-photos.com/109005919/45366642/35400787/s65_marcelo.r._s._ribeiro.jpg"},{"id":376374,"first_name":"Renata","last_name":"Gomes","domain_name":"ufrb","page_name":"RenataGomes","display_name":"Renata Gomes","profile_url":"https://ufrb.academia.edu/RenataGomes?f_ri=16055","photo":"https://0.academia-photos.com/376374/97004/111465/s65_renata.gomes.jpg"},{"id":13837611,"first_name":"Tarcisio","last_name":"Cardoso","domain_name":"ufba","page_name":"TarcisioCardoso","display_name":"Tarcisio Cardoso","profile_url":"https://ufba.academia.edu/TarcisioCardoso?f_ri=16055","photo":"https://0.academia-photos.com/13837611/4374949/124293863/s65_tarcisio.cardoso.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=16055","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=16055","nofollow":true},{"id":10349,"name":"Politics and Film","url":"https://www.academia.edu/Documents/in/Politics_and_Film?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055"},{"id":16941,"name":"Brazilian Cinema","url":"https://www.academia.edu/Documents/in/Brazilian_Cinema?f_ri=16055"},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=16055"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=16055"},{"id":211586,"name":"Cinema brasileiro","url":"https://www.academia.edu/Documents/in/Cinema_brasileiro?f_ri=16055"},{"id":982859,"name":"Análise Fílmica","url":"https://www.academia.edu/Documents/in/An%C3%A1lise_F%C3%ADlmica?f_ri=16055"},{"id":1224923,"name":"Estudos De Cinema","url":"https://www.academia.edu/Documents/in/Estudos_De_Cinema?f_ri=16055"},{"id":1270686,"name":"Semiótica Da Cultura","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica_Da_Cultura?f_ri=16055"},{"id":2774034,"name":"Cinema brasileiro contemporâneo","url":"https://www.academia.edu/Documents/in/Cinema_brasileiro_contempor%C3%A2neo?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45495469" data-work_id="45495469" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45495469/Kristallnacht_on_Film_Reportage_and_Reenactments_1938_1948">Kristallnacht on Film: Reportage and Reenactments, 1938-1948</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the absence of original footage from Kristallnacht, newsreels, documentaries, and feature films have employed several techniques to represent the November Pogrom. American and British newsreels initially featured political and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45495469" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the absence of original footage from Kristallnacht, newsreels, documentaries, and feature films have employed several techniques to represent the November Pogrom.  American and British newsreels initially featured political and religious figures condemning the violence, the resettlement of Jewish refugees, or stills of broken windows of Jewish shops.  After the outbreak of World War Two, Chaplin’s The Great Dictator (1940) narrowly focused on how the pogrom affected its Jewish protagonist.  The anti-Nazi French propaganda film Mein Kampf: My Crimes (1940) intercut footage of the 1933 boycott, a still of a pillaged Jewish store, doctored pre-1938 photos of a Berlin synagogue with a dramatization of the Vom Rath assassination and Kristallnacht.  Images from the war and its atrocities overshadowed Kristallnacht in American wartime propaganda films; whereas advocacy and fundraising films devoted more attention to its significance in the evolution of Hitler’s plan to eradicate European Jewry.  Two films produced in the occupation zones of Germany immediately after the war tackled the subject with Marriage in the Shadows (1947) presenting the first dramatization of the pillaging of German Jewish shops and pummeling of Jewish owners.  Further dramatizations of Kristallnacht were not attempted in feature films until the 40th anniversary of the pogrom.  The documentaries made in the interim relied on photographs, footage of the SA boycott of Jewish businesses and the book burning, the fabricated scenes from Mein Kampf: My Crimes, footage of analogous events, or survivor interviews to depict Kristallnacht.  It was only with the discovery of German home movies of Kristallnacht that authentic footage of the rampage appeared in documentaries made in 1988 to commemorate the 50th anniversary of the pogrom.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45495469" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a8de5e5a052fd78fa4b1dd126d4a9271" rel="nofollow" data-download="{"attachment_id":65990627,"asset_id":45495469,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65990627/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="55967621" href="https://mywealthguru.academia.edu/LawrenceBaron">Lawrence Baron</a><script data-card-contents-for-user="55967621" type="text/json">{"id":55967621,"first_name":"Lawrence","last_name":"Baron","domain_name":"mywealthguru","page_name":"LawrenceBaron","display_name":"Lawrence Baron","profile_url":"https://mywealthguru.academia.edu/LawrenceBaron?f_ri=16055","photo":"https://0.academia-photos.com/55967621/20591131/84778977/s65_lawrence.baron.jpg"}</script></span></span></li><li class="js-paper-rank-work_45495469 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45495469"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45495469, container: ".js-paper-rank-work_45495469", }); 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$(".js-view-count[data-work-id=45495469]").text(description); $(".js-view-count-work_45495469").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45495469").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45495469"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="12742" rel="nofollow" href="https://www.academia.edu/Documents/in/Holocaust_Studies">Holocaust Studies</a>, <script data-card-contents-for-ri="12742" type="text/json">{"id":12742,"name":"Holocaust Studies","url":"https://www.academia.edu/Documents/in/Holocaust_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a><script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45495469]'), work: {"id":45495469,"title":"Kristallnacht on Film: Reportage and Reenactments, 1938-1948","created_at":"2021-03-12T15:40:16.120-08:00","url":"https://www.academia.edu/45495469/Kristallnacht_on_Film_Reportage_and_Reenactments_1938_1948?f_ri=16055","dom_id":"work_45495469","summary":"In the absence of original footage from Kristallnacht, newsreels, documentaries, and feature films have employed several techniques to represent the November Pogrom. American and British newsreels initially featured political and religious figures condemning the violence, the resettlement of Jewish refugees, or stills of broken windows of Jewish shops. After the outbreak of World War Two, Chaplin’s The Great Dictator (1940) narrowly focused on how the pogrom affected its Jewish protagonist. The anti-Nazi French propaganda film Mein Kampf: My Crimes (1940) intercut footage of the 1933 boycott, a still of a pillaged Jewish store, doctored pre-1938 photos of a Berlin synagogue with a dramatization of the Vom Rath assassination and Kristallnacht. Images from the war and its atrocities overshadowed Kristallnacht in American wartime propaganda films; whereas advocacy and fundraising films devoted more attention to its significance in the evolution of Hitler’s plan to eradicate European Jewry. Two films produced in the occupation zones of Germany immediately after the war tackled the subject with Marriage in the Shadows (1947) presenting the first dramatization of the pillaging of German Jewish shops and pummeling of Jewish owners. Further dramatizations of Kristallnacht were not attempted in feature films until the 40th anniversary of the pogrom. The documentaries made in the interim relied on photographs, footage of the SA boycott of Jewish businesses and the book burning, the fabricated scenes from Mein Kampf: My Crimes, footage of analogous events, or survivor interviews to depict Kristallnacht. It was only with the discovery of German home movies of Kristallnacht that authentic footage of the rampage appeared in documentaries made in 1988 to commemorate the 50th anniversary of the pogrom. ","downloadable_attachments":[{"id":65990627,"asset_id":45495469,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":55967621,"first_name":"Lawrence","last_name":"Baron","domain_name":"mywealthguru","page_name":"LawrenceBaron","display_name":"Lawrence Baron","profile_url":"https://mywealthguru.academia.edu/LawrenceBaron?f_ri=16055","photo":"https://0.academia-photos.com/55967621/20591131/84778977/s65_lawrence.baron.jpg"}],"research_interests":[{"id":12742,"name":"Holocaust Studies","url":"https://www.academia.edu/Documents/in/Holocaust_Studies?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_74510857" data-work_id="74510857" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/74510857/Aesthetics_of_Horror_in_Cinema_Celebrating_100_years_of_The_Cabinet_of_Dr_Caligari_World_s_First_Horror_Film_">Aesthetics of Horror in Cinema (Celebrating 100 years of The Cabinet of Dr. Caligari: World’s First Horror Film)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Abstract: The Cinema has undergone a transformation in recent years, and the societal thirst for horror begs an important question: why do so many of us enjoy being horrified, disturbed, or afraid? The virtual world of cinema&amp;#39;s... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_74510857" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Abstract: The Cinema has undergone a transformation in recent years, and the societal thirst for horror begs an important question: why do so many of us enjoy being horrified, disturbed, or afraid? The virtual world of cinema&amp;#39;s concept of utopia and dystopia has evolved. The horror genre has developed its aesthetics as a result of increased scholarship and attention over the last four to five decades. The search for the &amp;#39;missing horizon&amp;#39; has spawned a slew of new cinematic theories. The majority of these horror film ideas are Freudian in nature, with a focus on the concepts of ‘repression’ and ‘release’. However, Noel Carroll&amp;#39;s new concept of &amp;#39;The Philosophy of Horror&amp;#39; examines the pleasure of horror films. He claims that the source of this pleasure is a special curiosity that produces a sense of ‘hope’. ‘Horror’ can be analysed form the dichotomy of Utopia and Dystopia- Heart and Hopes. This paper examines the most iconic and cult film, Robert Wiene&amp;#39;s &amp;#39;The Cabinet of Dr. Caligary&amp;#39;. The film has a powerful storyline of hope and despair, transporting spectators to &amp;#39;La Shangrila land,&amp;#39; and then resolving the paradox to the simple joy of gore. It provides ‘spectacle horror&amp;#39; with fine camerawork, pacing, and an artistic splitter that add to the pure Hope in the pure Performance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/74510857" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5574344" href="https://mcjmumbai.academia.edu/preetioza">Preeti Oza</a><script data-card-contents-for-user="5574344" type="text/json">{"id":5574344,"first_name":"Preeti","last_name":"Oza","domain_name":"mcjmumbai","page_name":"preetioza","display_name":"Preeti Oza","profile_url":"https://mcjmumbai.academia.edu/preetioza?f_ri=16055","photo":"https://0.academia-photos.com/5574344/6129735/41872941/s65_preeti.oza.jpg"}</script></span></span></li><li class="js-paper-rank-work_74510857 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="74510857"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 74510857, container: ".js-paper-rank-work_74510857", }); 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The virtual world of cinema\u0026amp;#39;s concept of utopia and dystopia has evolved. The horror genre has developed its aesthetics as a result of increased scholarship and attention over the last four to five decades. The search for the \u0026amp;#39;missing horizon\u0026amp;#39; has spawned a slew of new cinematic theories. The majority of these horror film ideas are Freudian in nature, with a focus on the concepts of ‘repression’ and ‘release’. However, Noel Carroll\u0026amp;#39;s new concept of \u0026amp;#39;The Philosophy of Horror\u0026amp;#39; examines the pleasure of horror films. He claims that the source of this pleasure is a special curiosity that produces a sense of ‘hope’. ‘Horror’ can be analysed form the dichotomy of Utopia and Dystopia- Heart and Hopes. This paper examines the most iconic and cult film, Robert Wiene\u0026amp;#39;s \u0026amp;#39;The Cabinet of Dr. Caligary\u0026amp;#39;. The film has a powerful storyline of hope and despair, transporting spectators to \u0026amp;#39;La Shangrila land,\u0026amp;#39; and then resolving the paradox to the simple joy of gore. It provides ‘spectacle horror\u0026amp;#39; with fine camerawork, pacing, and an artistic splitter that add to the pure Hope in the pure Performance.","downloadable_attachments":[],"ordered_authors":[{"id":5574344,"first_name":"Preeti","last_name":"Oza","domain_name":"mcjmumbai","page_name":"preetioza","display_name":"Preeti Oza","profile_url":"https://mcjmumbai.academia.edu/preetioza?f_ri=16055","photo":"https://0.academia-photos.com/5574344/6129735/41872941/s65_preeti.oza.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":8601,"name":"German Expressionism","url":"https://www.academia.edu/Documents/in/German_Expressionism?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":16628,"name":"Horror Cinema","url":"https://www.academia.edu/Documents/in/Horror_Cinema?f_ri=16055","nofollow":true},{"id":83041,"name":"The Horror Genre","url":"https://www.academia.edu/Documents/in/The_Horror_Genre?f_ri=16055"},{"id":182228,"name":"History of Cinema","url":"https://www.academia.edu/Documents/in/History_of_Cinema?f_ri=16055"},{"id":755728,"name":"The Cabinet of Dr. Caligari","url":"https://www.academia.edu/Documents/in/The_Cabinet_of_Dr._Caligari?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_51092233" data-work_id="51092233" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/51092233/On_the_Remake_A_cinematic_phenomenon_Part_One">On the Remake. A cinematic phenomenon. Part One.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Money, Copy, Quotation, Motive, Genre. The treatise is a reflection on the phenomenon of the remake, which plays a very exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_51092233" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Money, Copy, Quotation, Motive, Genre. <br />The treatise is a reflection on the phenomenon of the remake, which plays a very exposed role in cinema, puts it in relation to the other arts and tries to find a system behind the decisions of film directors and producers when a remake makes sense and when it does not.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/51092233" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ac14756e9cb80a65b3e811019c4138bb" rel="nofollow" data-download="{"attachment_id":68943548,"asset_id":51092233,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68943548/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="115948765" href="https://independentresearcher.academia.edu/JanSpeckenbach">Jan Speckenbach</a><script data-card-contents-for-user="115948765" type="text/json">{"id":115948765,"first_name":"Jan","last_name":"Speckenbach","domain_name":"independentresearcher","page_name":"JanSpeckenbach","display_name":"Jan Speckenbach","profile_url":"https://independentresearcher.academia.edu/JanSpeckenbach?f_ri=16055","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_51092233 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="51092233"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 51092233, container: ".js-paper-rank-work_51092233", }); 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Quando “dal vero” era più vero del vero”, Imago, n. 11 (numero speciale dedicato a I pensieri dell’immagine. 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Granjeia autoridade de crítico de cinema ao propor uma leitura formal? Reserva-se à função de juiz do passado, identi cando erros e acertos?... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26988383" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O que faz um historiador quando escreve sobre um  lme contemporâneo baseado em fatos históricos? Granjeia autoridade de crítico de cinema ao propor uma leitura formal? Reserva-se à função de juiz do passado, identi cando erros e acertos? Ou ainda, na condição de intelectual autorizado, comenta a dimensão política deste “evento” contemporâneo? Estas são questões que envolvem respostas complexas, situadas ora no polo positivo, ora no negativo, e que conectam alguns dos dilemas mais discutidos na metodo- logia histórica nas últimas décadas: narrativa e  ficção, história do tempo presente, história pública, usos pedagógicos e possibilidades metodológicas de documentos audiovisuais, entre outros.<br />Falarei de alguns destes temas ao analisar o  filme Twelve years a slave — traduzido no Brasil como Doze anos de escravidão —, do diretor britânico Steve McQueen. Sua ampla exibição nos cinemas, seu elenco estelar e as indicações ao Oscar® 2014 têm sido úteis para trazer à tona um debate sobre as mazelas do sistema escravista nas Américas, bem como sobre as funções e limites do cinema de história, tanto do ponto de vista historiográfico, suas normas e obrigações para com o passado, quanto cinematográ co, suas liberdades poéticas e formais, seu compromisso com o público.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26988383" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ef5b80a38baf124fb8071e6a6ccfabed" rel="nofollow" data-download="{"attachment_id":47248976,"asset_id":26988383,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47248976/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1483776" href="https://usp-br.academia.edu/MarceloT%C3%A9o">Marcelo Téo</a><script data-card-contents-for-user="1483776" type="text/json">{"id":1483776,"first_name":"Marcelo","last_name":"Téo","domain_name":"usp-br","page_name":"MarceloTéo","display_name":"Marcelo Téo","profile_url":"https://usp-br.academia.edu/MarceloT%C3%A9o?f_ri=16055","photo":"https://0.academia-photos.com/1483776/529193/14697935/s65_marcelo.t_o.jpg"}</script></span></span></li><li class="js-paper-rank-work_26988383 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26988383"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26988383, container: ".js-paper-rank-work_26988383", }); 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Granjeia autoridade de crítico de cinema ao propor uma leitura formal? Reserva-se à função de juiz do passado, identi cando erros e acertos? Ou ainda, na condição de intelectual autorizado, comenta a dimensão política deste “evento” contemporâneo? Estas são questões que envolvem respostas complexas, situadas ora no polo positivo, ora no negativo, e que conectam alguns dos dilemas mais discutidos na metodo- logia histórica nas últimas décadas: narrativa e ficção, história do tempo presente, história pública, usos pedagógicos e possibilidades metodológicas de documentos audiovisuais, entre outros.\nFalarei de alguns destes temas ao analisar o filme Twelve years a slave — traduzido no Brasil como Doze anos de escravidão —, do diretor britânico Steve McQueen. Sua ampla exibição nos cinemas, seu elenco estelar e as indicações ao Oscar® 2014 têm sido úteis para trazer à tona um debate sobre as mazelas do sistema escravista nas Américas, bem como sobre as funções e limites do cinema de história, tanto do ponto de vista historiográfico, suas normas e obrigações para com o passado, quanto cinematográ co, suas liberdades poéticas e formais, seu compromisso com o público.","downloadable_attachments":[{"id":47248976,"asset_id":26988383,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1483776,"first_name":"Marcelo","last_name":"Téo","domain_name":"usp-br","page_name":"MarceloTéo","display_name":"Marcelo Téo","profile_url":"https://usp-br.academia.edu/MarceloT%C3%A9o?f_ri=16055","photo":"https://0.academia-photos.com/1483776/529193/14697935/s65_marcelo.t_o.jpg"}],"research_interests":[{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":296759,"name":"História em Filmes","url":"https://www.academia.edu/Documents/in/Historia_em_Filmes?f_ri=16055","nofollow":true},{"id":545638,"name":"História Do Cinema","url":"https://www.academia.edu/Documents/in/Historia_Do_Cinema?f_ri=16055","nofollow":true},{"id":689373,"name":"Escravidão Nas Américas E No Brasil","url":"https://www.academia.edu/Documents/in/Escravidao_Nas_Americas_E_No_Brasil?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_14287366" data-work_id="14287366" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/14287366/Girls_Will_Be_Boys_Cross_Dressed_Women_Lesbians_and_American_Cinema_1908_1934">Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">HUFFINGTON POST BEST FILM BOOK OF 2016, FINALIST FOR RICHARD WALL MEMORIAL AWARD, LONGLISTED FOR KRASZNA-KRAUSA BEST MOVING IMAGE BOOK OF 2016. Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14287366" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">HUFFINGTON POST BEST FILM BOOK OF 2016, FINALIST FOR RICHARD WALL MEMORIAL AWARD, LONGLISTED FOR KRASZNA-KRAUSA BEST MOVING IMAGE BOOK OF 2016. Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. <br /> <br />Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity. <br /> <br />- Chosen by Huffington Post as one of the Best Film Books of 2016 <br />- 2016 Choice Outstanding Academic Title <br />- Longlisted for the Kraszna-Krausz Best Moving Image Book of 2016 <br />- Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Association <br />- Reviewed by: Times Higher Education, Times Literary Supplement, Gay & Lesbian Review Worldwide, Women’s Studies, Journal of American History, Feminist Media Studies, The Women’s Review of Books, Publishers Weekly, Library Journal (Starred review)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14287366" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="96be4c1ca9d2344f3a0cf73f1e53c162" rel="nofollow" data-download="{"attachment_id":54483458,"asset_id":14287366,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54483458/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="275080" href="https://carleton-ca.academia.edu/LauraHorak">Laura Horak</a><script data-card-contents-for-user="275080" type="text/json">{"id":275080,"first_name":"Laura","last_name":"Horak","domain_name":"carleton-ca","page_name":"LauraHorak","display_name":"Laura Horak","profile_url":"https://carleton-ca.academia.edu/LauraHorak?f_ri=16055","photo":"https://0.academia-photos.com/275080/67502/6630046/s65_laura.horak.jpg"}</script></span></span></li><li class="js-paper-rank-work_14287366 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="14287366"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 14287366, container: ".js-paper-rank-work_14287366", }); 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$(".js-view-count[data-work-id=14287366]").text(description); $(".js-view-count-work_14287366").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_14287366").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="14287366"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">27</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="136" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1138" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a><script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=14287366]'), work: {"id":14287366,"title":"Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934","created_at":"2015-07-22T05:07:59.027-07:00","url":"https://www.academia.edu/14287366/Girls_Will_Be_Boys_Cross_Dressed_Women_Lesbians_and_American_Cinema_1908_1934?f_ri=16055","dom_id":"work_14287366","summary":"HUFFINGTON POST BEST FILM BOOK OF 2016, FINALIST FOR RICHARD WALL MEMORIAL AWARD, LONGLISTED FOR KRASZNA-KRAUSA BEST MOVING IMAGE BOOK OF 2016. Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men.\r\n \r\nLaura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity.\r\n\r\n- Chosen by Huffington Post as one of the Best Film Books of 2016\r\n- 2016 Choice Outstanding Academic Title\r\n- Longlisted for the Kraszna-Krausz Best Moving Image Book of 2016\r\n- Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Association\r\n- Reviewed by: Times Higher Education, Times Literary Supplement, Gay \u0026 Lesbian Review Worldwide, Women’s Studies, Journal of American History, Feminist Media Studies, The Women’s Review of Books, Publishers Weekly, Library Journal (Starred review)","downloadable_attachments":[{"id":54483458,"asset_id":14287366,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":275080,"first_name":"Laura","last_name":"Horak","domain_name":"carleton-ca","page_name":"LauraHorak","display_name":"Laura Horak","profile_url":"https://carleton-ca.academia.edu/LauraHorak?f_ri=16055","photo":"https://0.academia-photos.com/275080/67502/6630046/s65_laura.horak.jpg"}],"research_interests":[{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=16055","nofollow":true},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=16055","nofollow":true},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=16055","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":1726,"name":"Women's History","url":"https://www.academia.edu/Documents/in/Womens_History?f_ri=16055"},{"id":2272,"name":"Gender History","url":"https://www.academia.edu/Documents/in/Gender_History?f_ri=16055"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies?f_ri=16055"},{"id":4918,"name":"Gay And Lesbian Studies","url":"https://www.academia.edu/Documents/in/Gay_And_Lesbian_Studies?f_ri=16055"},{"id":4919,"name":"Lesbian Studies","url":"https://www.academia.edu/Documents/in/Lesbian_Studies?f_ri=16055"},{"id":6397,"name":"Silent Film","url":"https://www.academia.edu/Documents/in/Silent_Film?f_ri=16055"},{"id":6667,"name":"LGBT Issues","url":"https://www.academia.edu/Documents/in/LGBT_Issues?f_ri=16055"},{"id":10253,"name":"Early Cinema","url":"https://www.academia.edu/Documents/in/Early_Cinema?f_ri=16055"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=16055"},{"id":15996,"name":"American Cinema","url":"https://www.academia.edu/Documents/in/American_Cinema?f_ri=16055"},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=16055"},{"id":26979,"name":"Gay and Lesbian History","url":"https://www.academia.edu/Documents/in/Gay_and_Lesbian_History?f_ri=16055"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=16055"},{"id":49663,"name":"Women and Gender Studies","url":"https://www.academia.edu/Documents/in/Women_and_Gender_Studies?f_ri=16055"},{"id":50957,"name":"Feminist and LGBT Cultural History","url":"https://www.academia.edu/Documents/in/Feminist_and_LGBT_Cultural_History?f_ri=16055"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=16055"},{"id":53321,"name":"Silent Cinema","url":"https://www.academia.edu/Documents/in/Silent_Cinema?f_ri=16055"},{"id":69253,"name":"Stardom and Celebrity","url":"https://www.academia.edu/Documents/in/Stardom_and_Celebrity?f_ri=16055"},{"id":72394,"name":"LGBT Studies","url":"https://www.academia.edu/Documents/in/LGBT_Studies?f_ri=16055"},{"id":100007,"name":"Lesbian","url":"https://www.academia.edu/Documents/in/Lesbian?f_ri=16055"},{"id":182228,"name":"History of Cinema","url":"https://www.academia.edu/Documents/in/History_of_Cinema?f_ri=16055"},{"id":706892,"name":"Portrayal of Lesbian in Cinema","url":"https://www.academia.edu/Documents/in/Portrayal_of_Lesbian_in_Cinema?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40663491" data-work_id="40663491" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40663491/Filme_mem%C3%B3ria_e_identidade">Filme, memória e identidade</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">1. Chaimite versus Aqui d'El Rei! Em 1953, Jorge Brum do Canto realizou Chaimite, a queda do império vátua, narrativa que evoca um conjunto de batalhas militares que ocorreram em Moçambique entre 1894-1895, com o objetivo de eliminar uma... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40663491" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">1. Chaimite versus Aqui d'El Rei! Em 1953, Jorge Brum do Canto realizou Chaimite, a queda do império vátua, narrativa que evoca um conjunto de batalhas militares que ocorreram em Moçambique entre 1894-1895, com o objetivo de eliminar uma revolta que eclodira na província, sob liderança do régulo Gungunhana, campanha que ficou célebre pela forma como Mouzinho de Albuquerque aprisionou o chefe vátua. Este episódio militar inseria-se historicamente na necessidade que Portugal tinha de demonstrar a sua autoridade aos parceiros coloniais europeus, nomeadamente depois dos princípios definidos na Conferência de Berlim de 1885, através da qual ficara assente que qualquer potência colonial tinha de demonstrar autoridade e capacidade de ocupação efetiva do território para ter legitimidade à sua posse. Se a obra integra momentos plenos de exaltação imperial favoráveis aos Estado Novo, nomeadamente as batalhas e o aprisionamento do chefe da revolta, a verdade é que também contém outros que criam alguma perplexidade do ponto de vista histórico, nomeadamente o perfil com que Mouzinho de Albuquerque foi desenhado por Brum do Canto, onde por vezes está ausente um «temperamento forte, agressivo e majestático», apresentando-se paternal, afável, simpático e sentimental, aspetos nada coincidentes com a figura histórica (Seabra, 2011, p. 155). É o caso do momento em que, após o aprisionamento de Gungunhana, a mãe do régulo rasteja para Mouzinho implorando clemência para o filho. Mouzinho ampara a velha, ajuda-a a erguer-se, e coloca-lhe a mão sobre os ombros de forma paternal enquanto houve a tradução, respondendo-lhe de seguida que o destino do filho estava nas mãos do Rei de Portugal, e que ela poderia ir em paz por ter sido amiga dos portugueses (Canto, 1953, pl. 921). Sobre este pequeno episódio, aquilo que queremos salientar é que esta atitude afável, amistosa e benevolente não está de acordo com o perfil histórico da personagem, que segundo os testemunhos coevos seria «agressivo, convincente, sobranceiro e autoritário» (Seabra, 2011, p. 161), e</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40663491" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e712754bc5fa01827d93896e9544a942" rel="nofollow" data-download="{"attachment_id":60947545,"asset_id":40663491,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60947545/download_file?st=MTc0MDY0MDMxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33329645" href="https://coimbra.academia.edu/JorgeSeabra">Jorge Seabra</a><script data-card-contents-for-user="33329645" type="text/json">{"id":33329645,"first_name":"Jorge","last_name":"Seabra","domain_name":"coimbra","page_name":"JorgeSeabra","display_name":"Jorge Seabra","profile_url":"https://coimbra.academia.edu/JorgeSeabra?f_ri=16055","photo":"https://0.academia-photos.com/33329645/9875545/11408847/s65_jorge.seabra.jpg"}</script></span></span></li><li class="js-paper-rank-work_40663491 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40663491"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40663491, container: ".js-paper-rank-work_40663491", }); 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$(".js-view-count[data-work-id=40663491]").text(description); $(".js-view-count-work_40663491").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40663491").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40663491"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a>, <script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16055" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_History">Film and History</a>, <script data-card-contents-for-ri="16055" type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="45799" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_and_Memory">Film and Memory</a><script data-card-contents-for-ri="45799" type="text/json">{"id":45799,"name":"Film and Memory","url":"https://www.academia.edu/Documents/in/Film_and_Memory?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40663491]'), work: {"id":40663491,"title":"Filme, memória e identidade","created_at":"2019-10-18T17:37:44.644-07:00","url":"https://www.academia.edu/40663491/Filme_mem%C3%B3ria_e_identidade?f_ri=16055","dom_id":"work_40663491","summary":"1. Chaimite versus Aqui d'El Rei! Em 1953, Jorge Brum do Canto realizou Chaimite, a queda do império vátua, narrativa que evoca um conjunto de batalhas militares que ocorreram em Moçambique entre 1894-1895, com o objetivo de eliminar uma revolta que eclodira na província, sob liderança do régulo Gungunhana, campanha que ficou célebre pela forma como Mouzinho de Albuquerque aprisionou o chefe vátua. Este episódio militar inseria-se historicamente na necessidade que Portugal tinha de demonstrar a sua autoridade aos parceiros coloniais europeus, nomeadamente depois dos princípios definidos na Conferência de Berlim de 1885, através da qual ficara assente que qualquer potência colonial tinha de demonstrar autoridade e capacidade de ocupação efetiva do território para ter legitimidade à sua posse. Se a obra integra momentos plenos de exaltação imperial favoráveis aos Estado Novo, nomeadamente as batalhas e o aprisionamento do chefe da revolta, a verdade é que também contém outros que criam alguma perplexidade do ponto de vista histórico, nomeadamente o perfil com que Mouzinho de Albuquerque foi desenhado por Brum do Canto, onde por vezes está ausente um «temperamento forte, agressivo e majestático», apresentando-se paternal, afável, simpático e sentimental, aspetos nada coincidentes com a figura histórica (Seabra, 2011, p. 155). É o caso do momento em que, após o aprisionamento de Gungunhana, a mãe do régulo rasteja para Mouzinho implorando clemência para o filho. Mouzinho ampara a velha, ajuda-a a erguer-se, e coloca-lhe a mão sobre os ombros de forma paternal enquanto houve a tradução, respondendo-lhe de seguida que o destino do filho estava nas mãos do Rei de Portugal, e que ela poderia ir em paz por ter sido amiga dos portugueses (Canto, 1953, pl. 921). Sobre este pequeno episódio, aquilo que queremos salientar é que esta atitude afável, amistosa e benevolente não está de acordo com o perfil histórico da personagem, que segundo os testemunhos coevos seria «agressivo, convincente, sobranceiro e autoritário» (Seabra, 2011, p. 161), e","downloadable_attachments":[{"id":60947545,"asset_id":40663491,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33329645,"first_name":"Jorge","last_name":"Seabra","domain_name":"coimbra","page_name":"JorgeSeabra","display_name":"Jorge Seabra","profile_url":"https://coimbra.academia.edu/JorgeSeabra?f_ri=16055","photo":"https://0.academia-photos.com/33329645/9875545/11408847/s65_jorge.seabra.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":45799,"name":"Film and Memory","url":"https://www.academia.edu/Documents/in/Film_and_Memory?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44929121" data-work_id="44929121" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44929121/Course_Syllabus_Disney_and_U_S_Culture_">Course Syllabus: "Disney and U.S. Culture"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44929121" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying Disney offers us a rare opportunity to consider childhood, the media industry, and American culture simultaneously. In this course, students will examine representations of race, gender, sexuality, class, and ability on screen and behind the scenes at Disney. We will also explore the wide expanse of Disney’s properties, from movies to TV to theme parks and theater. Students will also gain experience with conducting research, studying primary documents and contributing to public history. In the end, students will have a richer understanding of Disney not only as a company, but as a cultural institution.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44929121" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="baa57d358bd64157349c3886b2f51291" rel="nofollow" data-download="{"attachment_id":65454833,"asset_id":44929121,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65454833/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2427485" href="https://tulane.academia.edu/kunze">Peter C . Kunze</a><script data-card-contents-for-user="2427485" type="text/json">{"id":2427485,"first_name":"Peter","last_name":"Kunze","domain_name":"tulane","page_name":"kunze","display_name":"Peter C . Kunze","profile_url":"https://tulane.academia.edu/kunze?f_ri=16055","photo":"https://0.academia-photos.com/2427485/760319/155618225/s65_peter.kunze.jpg"}</script></span></span></li><li class="js-paper-rank-work_44929121 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44929121"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44929121, container: ".js-paper-rank-work_44929121", }); });</script></li><li class="js-percentile-work_44929121 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44929121; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44929121"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44929121 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44929121"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44929121; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44929121]").text(description); $(".js-view-count-work_44929121").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44929121").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44929121"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="934" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_and_Cultural_Studies">Media and Cultural Studies</a>, <script data-card-contents-for-ri="934" type="text/json">{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1575" rel="nofollow" href="https://www.academia.edu/Documents/in/Animation">Animation</a><script data-card-contents-for-ri="1575" type="text/json">{"id":1575,"name":"Animation","url":"https://www.academia.edu/Documents/in/Animation?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44929121]'), work: {"id":44929121,"title":"Course Syllabus: \"Disney and U.S. Culture\"","created_at":"2021-01-18T10:49:44.861-08:00","url":"https://www.academia.edu/44929121/Course_Syllabus_Disney_and_U_S_Culture_?f_ri=16055","dom_id":"work_44929121","summary":"For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying Disney offers us a rare opportunity to consider childhood, the media industry, and American culture simultaneously. In this course, students will examine representations of race, gender, sexuality, class, and ability on screen and behind the scenes at Disney. We will also explore the wide expanse of Disney’s properties, from movies to TV to theme parks and theater. Students will also gain experience with conducting research, studying primary documents and contributing to public history. 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Publicacions i Edicions de la Universitat de Barcelona, 2009, 322 pàgs. [Review Garcés, 2010]</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34555199" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6ee89cabf651b495d0fe93493a5de6d5" rel="nofollow" data-download="{"attachment_id":54425515,"asset_id":34555199,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54425515/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2815397" href="https://ub.academia.edu/IgnasiGarcesEstallo">Ignasi Garcés Estallo</a><script data-card-contents-for-user="2815397" type="text/json">{"id":2815397,"first_name":"Ignasi","last_name":"Garcés Estallo","domain_name":"ub","page_name":"IgnasiGarcesEstallo","display_name":"Ignasi Garcés Estallo","profile_url":"https://ub.academia.edu/IgnasiGarcesEstallo?f_ri=16055","photo":"https://0.academia-photos.com/2815397/2775006/20008930/s65_ignasi.garc_s_estallo.jpg"}</script></span></span></li><li class="js-paper-rank-work_34555199 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34555199"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34555199, container: ".js-paper-rank-work_34555199", }); 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Publicacions i Edicions de la Universitat de Barcelona, 2009, 322 pàgs. 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Akomfrah, filho de exilados políticos que se fixaram na... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49161313" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A obra do cineasta ganês John Akomfrah foi objeto de uma mostra bem abrangente no Brasil desde o final de 2017, primeiro em Brasília e São Paulo, depois no Rio de Janeiro . Akomfrah, filho de exilados políticos que se fixaram na Inglaterra na década de 60, fez grande parte do seu trabalho vinculado ao Black Audio Film Collective, grupo de projetos multimídia fundado no início da década de 1980 pelo próprio Akomfrah e outros estudantes de cinema da Universidade de Portsmouth. Com filmes e instalações que se colocam na fronteira entre o cinema e as artes visuais de vanguarda, Akomfrah vem se afirmando como uma figura chave na construção de uma poética diaspórica audiovisual, na elaboração de imagens substanciais sobre raça, identidade e migração que nunca resvalam no meramente panfletário ou descritivo.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49161313" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1ae19d3438a2d296d2879099c8f75542" rel="nofollow" data-download="{"attachment_id":67548777,"asset_id":49161313,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67548777/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="126496" href="https://ufpe.academia.edu/AngelaPrysthon">Angela Prysthon</a><script data-card-contents-for-user="126496" type="text/json">{"id":126496,"first_name":"Angela","last_name":"Prysthon","domain_name":"ufpe","page_name":"AngelaPrysthon","display_name":"Angela Prysthon","profile_url":"https://ufpe.academia.edu/AngelaPrysthon?f_ri=16055","photo":"https://0.academia-photos.com/126496/33743/31003/s65_angela.prysthon.jpeg"}</script></span></span></li><li class="js-paper-rank-work_49161313 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49161313"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49161313, container: ".js-paper-rank-work_49161313", }); 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u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Considerando que las imágenes en movimiento son una expresión de la personalidad cultural de los pueblos y que, a causa de su valor educativo, artístico, científico e histórico, forman parte integrante del patrimonio cultural de una nación.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8042068" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b2628142aa1797ee3547527ec740f879" rel="nofollow" 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type="text/json">{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="39436" rel="nofollow" href="https://www.academia.edu/Documents/in/Puerto_Rican_Studies">Puerto Rican Studies</a>, <script data-card-contents-for-ri="39436" type="text/json">{"id":39436,"name":"Puerto Rican Studies","url":"https://www.academia.edu/Documents/in/Puerto_Rican_Studies?f_ri=16055","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="52745" rel="nofollow" href="https://www.academia.edu/Documents/in/Cinema_Studies">Cinema Studies</a><script data-card-contents-for-ri="52745" type="text/json">{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8042068]'), work: {"id":8042068,"title":"Introducción al Catálogo de Colecciones del Archivo de Imágenes en Movimiento","created_at":"2014-08-21T08:46:14.789-07:00","url":"https://www.academia.edu/8042068/Introducci%C3%B3n_al_Cat%C3%A1logo_de_Colecciones_del_Archivo_de_Im%C3%A1genes_en_Movimiento?f_ri=16055","dom_id":"work_8042068","summary":"Considerando que las imágenes en movimiento son una expresión de la personalidad cultural de los pueblos y que, a causa de su valor educativo, artístico, científico e histórico, forman parte integrante del patrimonio cultural de una nación.","downloadable_attachments":[{"id":49914619,"asset_id":8042068,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15469423,"first_name":"Luis","last_name":"Rosario-Albert","domain_name":"uagm-carolina","page_name":"LuisRosarioAlbert","display_name":"Luis 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Patrimônio","url":"https://www.academia.edu/Documents/in/Politicas_De_Preservacion_Del_Patrimonio?f_ri=16055"},{"id":1463583,"name":"Mercado Periodicos Puerto Rico","url":"https://www.academia.edu/Documents/in/Mercado_Periodicos_Puerto_Rico?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_74062939" data-work_id="74062939" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/74062939/The_First_True_Hitchcock_Oakland_CA_University_of_California_Press_2022_">The First True Hitchcock (Oakland, CA: University of California Press, 2022)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Alfred Hitchcock called The Lodger "the first true Hitchcock movie," the one that anticipated all the others. And yet the story of how The Lodger came to be made is shrouded in myth, often repeated and much embellished, even by Hitchcock... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_74062939" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Alfred Hitchcock called The Lodger "the first true Hitchcock movie," the one that anticipated all the others. And yet the story of how The Lodger came to be made is shrouded in myth, often repeated and much embellished, even by Hitchcock himself. The First True Hitchcock focuses on the twelve-month period that encompassed The Lodger's production in 1926 and release in 1927, presenting a new picture of this pivotal year in<br />Hitchcock's life and in the wider film world. Using fresh archival discoveries, Henry K. Miller situates Hitchcock's formation as a director against the backdrop of a continent shattered by war and confronted with the looming presence of a new superpower, the United States, and its most visible export—film. The previously untold story of The Lodger's making in the London fog—and attempted remaking in the Los Angeles sun—is the story of how Hitchcock became Hitchcock.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/74062939" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="41404fdbc2dfaf9559dd8c66574a8ff9" rel="nofollow" data-download="{"attachment_id":82350712,"asset_id":74062939,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/82350712/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3861933" href="https://anglia.academia.edu/HenryMiller">Henry K Miller</a><script data-card-contents-for-user="3861933" type="text/json">{"id":3861933,"first_name":"Henry","last_name":"Miller","domain_name":"anglia","page_name":"HenryMiller","display_name":"Henry K Miller","profile_url":"https://anglia.academia.edu/HenryMiller?f_ri=16055","photo":"https://0.academia-photos.com/3861933/9749278/10860673/s65_henry.miller.jpg"}</script></span></span></li><li class="js-paper-rank-work_74062939 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="74062939"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 74062939, container: ".js-paper-rank-work_74062939", }); 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And yet the story of how The Lodger came to be made is shrouded in myth, often repeated and much embellished, even by Hitchcock himself. The First True Hitchcock focuses on the twelve-month period that encompassed The Lodger's production in 1926 and release in 1927, presenting a new picture of this pivotal year in\nHitchcock's life and in the wider film world. Using fresh archival discoveries, Henry K. Miller situates Hitchcock's formation as a director against the backdrop of a continent shattered by war and confronted with the looming presence of a new superpower, the United States, and its most visible export—film. 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Junius P. Rodriguez (Greenwood Press, 2006), 1: 86-88; 2:411-13</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25899013" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3ec55b39aba951ef669b990d8d2b33f5" rel="nofollow" data-download="{"attachment_id":46265357,"asset_id":25899013,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46265357/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42149500" href="https://csusm.academia.edu/AlyssaGoldsteinSepinwall">Alyssa Goldstein Sepinwall</a><script data-card-contents-for-user="42149500" type="text/json">{"id":42149500,"first_name":"Alyssa Goldstein","last_name":"Sepinwall","domain_name":"csusm","page_name":"AlyssaGoldsteinSepinwall","display_name":"Alyssa Goldstein Sepinwall","profile_url":"https://csusm.academia.edu/AlyssaGoldsteinSepinwall?f_ri=16055","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_25899013 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25899013"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25899013, container: ".js-paper-rank-work_25899013", }); 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Rodriguez (Greenwood Press, 2006), 1: 86-88; 2:411-13","created_at":"2016-06-05T19:04:29.851-07:00","url":"https://www.academia.edu/25899013/_Burn_and_Julien_Raimond_Encyclopedia_of_Slave_Resistance_and_Rebellions_ed_Junius_P_Rodriguez_Greenwood_Press_2006_1_86_88_2_411_13?f_ri=16055","dom_id":"work_25899013","summary":null,"downloadable_attachments":[{"id":46265357,"asset_id":25899013,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":42149500,"first_name":"Alyssa Goldstein","last_name":"Sepinwall","domain_name":"csusm","page_name":"AlyssaGoldsteinSepinwall","display_name":"Alyssa Goldstein Sepinwall","profile_url":"https://csusm.academia.edu/AlyssaGoldsteinSepinwall?f_ri=16055","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":6872,"name":"Haitian Revolution","url":"https://www.academia.edu/Documents/in/Haitian_Revolution?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":74416,"name":"18th Century Saint Domingue","url":"https://www.academia.edu/Documents/in/18th_Century_Saint_Domingue?f_ri=16055","nofollow":true},{"id":379289,"name":"Gillo Pontecorvo","url":"https://www.academia.edu/Documents/in/Gillo_Pontecorvo?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5432210" data-work_id="5432210" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5432210/_Editor_Cleopatra_A_Sphinx_Revisited_Berkeley_2011_TOC_">(Editor) Cleopatra: A Sphinx Revisited. Berkeley, 2011. (TOC)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Just as Shakespeare asserted she always would, the fascinating Cleopatra VII, Queen of Egypt, continues dazzle us. This book presents papers that consider Cleopatra and her legacies by scholars working in archaeology, art history, history... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5432210" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Just as Shakespeare asserted she always would, the fascinating Cleopatra VII, Queen of Egypt, continues dazzle us. This book presents papers that consider Cleopatra and her legacies by scholars working in archaeology, art history, history and literary and film studies. The papers include discussion of Cleopatra’s obelisks; her use of traditional Egyptian imagery in sculpture; her time in Rome; her death; Egyptian themes in Augustan Rome; Cleopatra in Renaissance Rome; the afterlife of her love potions; how she is depicted by Sir Alma-Tadema; Cleomania in mass culture; and an overview of Cleopatra’s images in western painting.  The book concludes with a wonderful poem by Peter Green.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5432210" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="47f20f62bc4f85b188744645bdfcfd86" rel="nofollow" data-download="{"attachment_id":37013364,"asset_id":5432210,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37013364/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7595913" href="https://uci.academia.edu/MargaretMMiles">Margaret M. 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An essay in the Miscellany of Men feature in the magazine, this one treats of Alfred Hitchcock's life and work, with particular attention to the influence exercised on him by the work of G. K.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_62071488" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Gilbert 13:2 (October-November 2009): 9.  An essay in the Miscellany of Men feature in the magazine, this one treats of Alfred Hitchcock's life and work, with particular attention to the influence exercised on him by the work of G. K. Chesterton.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/62071488" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="67135cc1398680eb4b340c3328a0732b" rel="nofollow" data-download="{"attachment_id":74933148,"asset_id":62071488,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/74933148/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13534579" href="https://stthom.academia.edu/DavidDeavel">David Deavel</a><script data-card-contents-for-user="13534579" type="text/json">{"id":13534579,"first_name":"David","last_name":"Deavel","domain_name":"stthom","page_name":"DavidDeavel","display_name":"David Deavel","profile_url":"https://stthom.academia.edu/DavidDeavel?f_ri=16055","photo":"https://0.academia-photos.com/13534579/6222897/21296493/s65_david.deavel.jpg"}</script></span></span></li><li class="js-paper-rank-work_62071488 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="62071488"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 62071488, container: ".js-paper-rank-work_62071488", }); 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Chesterton</a><script data-card-contents-for-ri="64418" type="text/json">{"id":64418,"name":"G.K. Chesterton","url":"https://www.academia.edu/Documents/in/G.K._Chesterton?f_ri=16055","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=62071488]'), work: {"id":62071488,"title":"Master of Suspense: Alfred Hitchcock, 1899-1980","created_at":"2021-11-20T09:50:50.941-08:00","url":"https://www.academia.edu/62071488/Master_of_Suspense_Alfred_Hitchcock_1899_1980?f_ri=16055","dom_id":"work_62071488","summary":"Gilbert 13:2 (October-November 2009): 9. An essay in the Miscellany of Men feature in the magazine, this one treats of Alfred Hitchcock's life and work, with particular attention to the influence exercised on him by the work of G. K. Chesterton. ","downloadable_attachments":[{"id":74933148,"asset_id":62071488,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13534579,"first_name":"David","last_name":"Deavel","domain_name":"stthom","page_name":"DavidDeavel","display_name":"David Deavel","profile_url":"https://stthom.academia.edu/DavidDeavel?f_ri=16055","photo":"https://0.academia-photos.com/13534579/6222897/21296493/s65_david.deavel.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":51115,"name":"Alfred Hitchcock","url":"https://www.academia.edu/Documents/in/Alfred_Hitchcock?f_ri=16055","nofollow":true},{"id":64418,"name":"G.K. Chesterton","url":"https://www.academia.edu/Documents/in/G.K._Chesterton?f_ri=16055","nofollow":true},{"id":114979,"name":"Suspense","url":"https://www.academia.edu/Documents/in/Suspense?f_ri=16055"},{"id":222799,"name":"Film Techniques of Alfred Hitchcock","url":"https://www.academia.edu/Documents/in/Film_Techniques_of_Alfred_Hitchcock?f_ri=16055"},{"id":384921,"name":"Hitchcock","url":"https://www.academia.edu/Documents/in/Hitchcock?f_ri=16055"},{"id":522268,"name":"G K Chesterton","url":"https://www.academia.edu/Documents/in/G_K_Chesterton?f_ri=16055"},{"id":1278202,"name":"Hitchcock's Vertigo","url":"https://www.academia.edu/Documents/in/Hitchcocks_Vertigo?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27846307" data-work_id="27846307" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27846307/Holography_Historical_Indexicality_and_the_Holocaust">Holography, Historical Indexicality, and the Holocaust</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Each year less and less survivors arrive in Auschwitz to commemorate the International Holocaust Remembrance Day. In 2005, almost 1500 survivors attended the anniversary; in 2015, only 300 survivors came to Auschwitz. Therefore, as the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27846307" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Each year less and less survivors arrive in Auschwitz to commemorate the International Holocaust Remembrance Day. In 2005, almost 1500 survivors attended the anniversary; in 2015, only 300 survivors came to Auschwitz. Therefore, as the memory of the Holocaust increasingly depends on commemoration and re-telling of the story for the sake of the new generations, various Holocaust-related educational institutions come up with innovative ways of bridging the past with the present. This fact motivates the main question of this paper: what happens when all the survivors are gone?<br /><br />By focusing on a case study of the USC Shoah Foundation’s holographic testimony-based project developed with the USC Institute for Creative Technologies: New Dimensions in Testimony, this paper centers on the relationship between new technologies, visual studies, and Holocaust memory. By technology, I mean the study of interactivity in contemporary Holocaust memory, representation, and education, as well as developments in digital media, digital humanities, and computer science. On a more abstract level, this research discusses how technology informs the way we relate to our past. The second question, therefore, that motivates this paper is: what is the future of Holocaust memory?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27846307" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="37c5526b97b2783d0b7021b589dadb8b" rel="nofollow" data-download="{"attachment_id":48130612,"asset_id":27846307,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48130612/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="52185897" href="https://usc.academia.edu/MariaZalewska">Dr. Maria Zalewska</a><script data-card-contents-for-user="52185897" type="text/json">{"id":52185897,"first_name":"Dr. Maria","last_name":"Zalewska","domain_name":"usc","page_name":"MariaZalewska","display_name":"Dr. Maria Zalewska","profile_url":"https://usc.academia.edu/MariaZalewska?f_ri=16055","photo":"https://0.academia-photos.com/52185897/13867101/17090719/s65_maria.zalewska.jpg"}</script></span></span></li><li class="js-paper-rank-work_27846307 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27846307"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27846307, container: ".js-paper-rank-work_27846307", }); 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In 2005, almost 1500 survivors attended the anniversary; in 2015, only 300 survivors came to Auschwitz. Therefore, as the memory of the Holocaust increasingly depends on commemoration and re-telling of the story for the sake of the new generations, various Holocaust-related educational institutions come up with innovative ways of bridging the past with the present. This fact motivates the main question of this paper: what happens when all the survivors are gone?\n\nBy focusing on a case study of the USC Shoah Foundation’s holographic testimony-based project developed with the USC Institute for Creative Technologies: New Dimensions in Testimony, this paper centers on the relationship between new technologies, visual studies, and Holocaust memory. By technology, I mean the study of interactivity in contemporary Holocaust memory, representation, and education, as well as developments in digital media, digital humanities, and computer science. On a more abstract level, this research discusses how technology informs the way we relate to our past. The second question, therefore, that motivates this paper is: what is the future of Holocaust memory?\n","downloadable_attachments":[{"id":48130612,"asset_id":27846307,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":52185897,"first_name":"Dr. Maria","last_name":"Zalewska","domain_name":"usc","page_name":"MariaZalewska","display_name":"Dr. Maria Zalewska","profile_url":"https://usc.academia.edu/MariaZalewska?f_ri=16055","photo":"https://0.academia-photos.com/52185897/13867101/17090719/s65_maria.zalewska.jpg"}],"research_interests":[{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities?f_ri=16055","nofollow":true},{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true},{"id":16391,"name":"Space And Place (Art)","url":"https://www.academia.edu/Documents/in/Space_And_Place_Art_?f_ri=16055","nofollow":true},{"id":134143,"name":"Politics of Memory","url":"https://www.academia.edu/Documents/in/Politics_of_Memory?f_ri=16055"},{"id":362066,"name":"Cinematic representation of the Holocaust","url":"https://www.academia.edu/Documents/in/Cinematic_representation_of_the_Holocaust?f_ri=16055"},{"id":366076,"name":"National, transnational and postnational cinemas","url":"https://www.academia.edu/Documents/in/National_transnational_and_postnational_cinemas?f_ri=16055"},{"id":550148,"name":"Memory and memorialization","url":"https://www.academia.edu/Documents/in/Memory_and_memorialization?f_ri=16055"},{"id":600098,"name":"Cultural memory/Memorialization","url":"https://www.academia.edu/Documents/in/Cultural_memory_Memorialization?f_ri=16055"},{"id":1799883,"name":"Political Economy of Film","url":"https://www.academia.edu/Documents/in/Political_Economy_of_Film?f_ri=16055"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_64233894" data-work_id="64233894" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/64233894/Kill_Bill_and_the_Epic_Convention">Kill Bill and the Epic Convention</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/64233894" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="21301a8848b326d4819ac34cf1b1ff92" rel="nofollow" data-download="{"attachment_id":76630945,"asset_id":64233894,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/76630945/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22272047" href="https://malta.academia.edu/malcolmricci">malcolm ricci</a><script data-card-contents-for-user="22272047" type="text/json">{"id":22272047,"first_name":"malcolm","last_name":"ricci","domain_name":"malta","page_name":"malcolmricci","display_name":"malcolm ricci","profile_url":"https://malta.academia.edu/malcolmricci?f_ri=16055","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_64233894 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="64233894"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 64233894, container: ".js-paper-rank-work_64233894", }); 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Loosely based on the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31713293" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The film “Europa Euorpa” directed by Agnieszka Holland recounts the story of a German Jewish boy that survived the holocaust by denying his Jewish heritage to Nazi soldiers and then ultimately joining them.  Loosely based on the autobiography of holocaust survivor Solomon Perel entitled I was Hitler youth Salomen, “Europa Europa” manages to tell a survivor story in an almost surreal manner.  Similarly the book Night written by Elie Wiesel describes the life of a teenager that survived the holocaust but could not hide his identity due to the love and dedication to his family. In Night, there are times when it seems that humanity has reached its lowest point illustrated by the horrific actions in the book. Both Wiesel and Perel approached a nightmarish situation in ways that seem impossible to comprehend as truth. Perel living a lie to survive and Wiesel refusing to let go of the life that he lived even when all seemed hopeless. Stories like “Europa Europa” and Night are not just stories, and they force those that have interacted with such retelling of factual accounts to become witnesses that ask the same question that Wiesel did during his acceptance speech of the Noble Peace prize. “Can this be true? This is the twentieth century, not the Middle Ages.”  These bodies of work become testaments to events that are so alien to modern humane civilization that one would like to believe that it is all fiction, when they are truly not. Discrepancies in the historical accuracy of both works can be explained by the massive trauma sustained by their story tellers. Delving into all the gritty details to determine the whole truth only furthers the satisfaction of those interested in the macabre actions of humanity at its worst and do not add to the value of the historical record.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31713293" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6191274ede0503707cd2ed3e5ffcf4fa" rel="nofollow" data-download="{"attachment_id":52026816,"asset_id":31713293,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52026816/download_file?st=MTc0MDY0MDMxOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17416791" href="https://brockport.academia.edu/NicholaRamos">Nichola Ramos</a><script data-card-contents-for-user="17416791" type="text/json">{"id":17416791,"first_name":"Nichola","last_name":"Ramos","domain_name":"brockport","page_name":"NicholaRamos","display_name":"Nichola Ramos","profile_url":"https://brockport.academia.edu/NicholaRamos?f_ri=16055","photo":"https://0.academia-photos.com/17416791/6700644/14047335/s65_nichola.ramos.jpg"}</script></span></span></li><li class="js-paper-rank-work_31713293 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31713293"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31713293, container: ".js-paper-rank-work_31713293", }); 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Loosely based on the autobiography of holocaust survivor Solomon Perel entitled I was Hitler youth Salomen, “Europa Europa” manages to tell a survivor story in an almost surreal manner. Similarly the book Night written by Elie Wiesel describes the life of a teenager that survived the holocaust but could not hide his identity due to the love and dedication to his family. In Night, there are times when it seems that humanity has reached its lowest point illustrated by the horrific actions in the book. Both Wiesel and Perel approached a nightmarish situation in ways that seem impossible to comprehend as truth. Perel living a lie to survive and Wiesel refusing to let go of the life that he lived even when all seemed hopeless. Stories like “Europa Europa” and Night are not just stories, and they force those that have interacted with such retelling of factual accounts to become witnesses that ask the same question that Wiesel did during his acceptance speech of the Noble Peace prize. “Can this be true? This is the twentieth century, not the Middle Ages.” These bodies of work become testaments to events that are so alien to modern humane civilization that one would like to believe that it is all fiction, when they are truly not. Discrepancies in the historical accuracy of both works can be explained by the massive trauma sustained by their story tellers. Delving into all the gritty details to determine the whole truth only furthers the satisfaction of those interested in the macabre actions of humanity at its worst and do not add to the value of the historical record.","downloadable_attachments":[{"id":52026816,"asset_id":31713293,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":17416791,"first_name":"Nichola","last_name":"Ramos","domain_name":"brockport","page_name":"NicholaRamos","display_name":"Nichola Ramos","profile_url":"https://brockport.academia.edu/NicholaRamos?f_ri=16055","photo":"https://0.academia-photos.com/17416791/6700644/14047335/s65_nichola.ramos.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=16055","nofollow":true},{"id":4486,"name":"Political Science","url":"https://www.academia.edu/Documents/in/Political_Science?f_ri=16055","nofollow":true},{"id":16055,"name":"Film and History","url":"https://www.academia.edu/Documents/in/Film_and_History?f_ri=16055","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div></div><div class="u-taCenter Pagination"><ul class="pagination"><li class="next_page"><a href="/Documents/in/Film_and_History?after=50%2C31713293" rel="next">Next</a></li><li class="last next"><a href="/Documents/in/Film_and_History?page=last">Last »</a></li></ul></div></div><div class="hidden-xs hidden-sm"><div class="u-pl6x"><div style="width: 300px;"><div class="panel panel-flat u-mt7x"><div class="panel-heading u-p5x"><div class="u-tcGrayDark u-taCenter u-fw700 u-textUppercase">Related Topics</div></div><ul class="list-group"><li class="list-group-item media_v2 u-mt0x u-p3x"><div class="media-body"><div class="u-tcGrayDarker u-fw700"><a class="u-tcGrayDarker" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_History">Film History</a></div></div><div class="media-right media-middle"><a class="u-tcGreen u-textDecorationNone 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