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Showing 1 through 5 of 1,378 records.
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2008 - NCA 94th Annual Convention Words: 139 words || 
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1. Burton, Aaron. "The Portrayal of Christ through Film History: A Rhetorical Analysis of Significant Christ Films" Paper presented at the annual meeting of the NCA 94th Annual Convention, TBA, San Diego, CA, <Not Available>. 2018-07-15 <http://citation.allacademic.com/meta/p258221_index.html>
Publication Type: Invited Paper
Abstract: The purpose of this investigation is to discuss American Christ Films and how the promotional strategies and cultural restraints have influenced the portrayal of Jesus. The study seeks to understand each film in the particular period that it was produced. These films have become part of the rhetorical dialogue and add to the discussion of Christianity. Six films have been selected for analyses that represent both the successes and failures of the Christ Film genre. The films selected are From the Manger to the Cross (1912), The King of Kings (1927), The Greatest Story Ever Told (1965), Jesus Christ Superstar (1973), The Last Temptation of Christ (1988), and The Passion of The Christ (2004). Using rhetorical analysis and history data, this investigation attempts to understand the ways that films about Jesus aid in spreading the message of the Gospels.

2014 - RSA Annual Meeting Words: 150 words || 
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2. Mandt, Christina. "Film in Autumn: The Episode Film Germany in Autumn Read as Baroque Emblem" Paper presented at the annual meeting of the RSA Annual Meeting, New York, NY, Hilton New York, <Not Available>. 2018-07-15 <http://citation.allacademic.com/meta/p677295_index.html>
Publication Type: Panel Paper
Abstract: With the omnibus film Germany in Autumn, a generation of auteur filmmakers reacts collectively to the climax and end of RAF terrorism in West Germany, as well as to an aesthetic crisis in German cinema. The paper will read the film through emblematic practice: its text-image relations translate the traditional simultaneity of inscriptio, pictura, and subscriptio into the linear temporal structure of film. While the collage of heterogeneous scenes embraces moral ambivalence, titles at the beginning and end add a superior moral perspective to the events and turn the antithetic material into an audiovisual argument. The cinematic emblem Germany in Autumn thereby opposes the dogma of political reasoning in German terrorism discourse as an alternative form of contemplation; the film poses ethical questions about human dignity and establishes allegorical images in public discourse as well as in the collective memory of those events referred to as German Autumn ever since.

2013 - Association for Slavic, East European and Eurasian Studies 45th Annual Convention Words: 37 words || 
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3. Shembel, Daria. "What Games Steal from Film? Theorizing Spaces in Films and Digital Media" Paper presented at the annual meeting of the Association for Slavic, East European and Eurasian Studies 45th Annual Convention, Boston Marriott Copley Place, Boston, MA, <Not Available>. 2018-07-15 <http://citation.allacademic.com/meta/p654210_index.html>
Publication Type: Panel Paper
Abstract: The paper discusses the aesthetics of space in films and video games, and explores the issues of video game adaptations of cinematic works that are marked by particularly innovative approaches to the construction of spaces and environments.

2013 - Association for Slavic, East European and Eurasian Studies 45th Annual Convention Words: 146 words || 
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4. Lovejoy, Alice. "'All of Film is An Experiment': Nonfiction Film, Postwar Reconstruction, and 'Building Socialism' in Czechoslovakia" Paper presented at the annual meeting of the Association for Slavic, East European and Eurasian Studies 45th Annual Convention, Boston Marriott Copley Place, Boston, MA, <Not Available>. 2018-07-15 <http://citation.allacademic.com/meta/p653883_index.html>
Publication Type: Panel Paper
Abstract: This paper will examine the intersection between Czechoslovak nonfiction film (1945 – 1955) and discourse about/practices of postwar reconstruction and “building socialism.” Through analysis of discourse about documentary in newspapers and journals, events such as the 1948 World Congress of Documentary (held in the spa town of Mariánské Lázně), and institutions such as the Czechoslovak Army Film studio (an important producer of such films), the paper will explore how the “short film” (a broad category encompassing multiple modes of nonfictional production) was seen as a particularly effective agent in the infrastructural and ideological dimensions of postwar statecraft. At the same time, it will argue that postwar Czechoslovak documentary must be understood in two broader contexts: one temporal (developing in continuity with interwar Czechoslovak discourse about nonfiction film), and one geographic (looking not only to the Soviet Union, but also to Britain and Western Europe, for models).

2013 - International Communication Association Words: 238 words || 
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5. Canedo, Daniele. "Building a Regional Film Space through National Policies? Analysis of Film Policies of Mercousr Countries Aimed at Regional Integration" Paper presented at the annual meeting of the International Communication Association, Hilton Metropole Hotel, London, England, <Not Available>. 2018-07-15 <http://citation.allacademic.com/meta/p662808_index.html>
Publication Type: Session Paper
Abstract: In South America, film policies released by the Southern Common Market (Mercosur) state that the audiovisual sector is an instrument able to support the regional integration process. In 2003, the entity formed by Argentina, Brazil, Paraguay, Uruguay and Venezuela, created The Specialized Meeting of Cinematographic and Audiovisual Authorities (RECAM), an agency responsible for film policies. RECAM’s main objectives are to strength the production, promote the circulation of local content and support the consolidation of a regional film space. In spite of this, indicators about the film sector in Mercosur show that instead of a common film industry, there are five different national realities both regarding to the main features of the markets and who are the main players in the sector. This paper focuses on policies and laws developed by the Mercosur National States in order to know whether they contribute to the pursued integration of the film industries, promote new audiovisual flows and, consequently, support economic and cultural objectives. The research tackle the issue by analyzing policy documents of Mercosur countries in the period of 1991 till 2012 divided into three categories: 1. harmonization of national laws and regulations; 2. bilateral cooperation agreements within Mercosur countries; 3. national policies aiming to benefit others Mercosur countries. The methodological approach is framed in the public policy analysis tradition and in the Political Economy of Communication and Culture. The data collection includes literature review, policy documents, databases and semi-structured interviews.

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