Kenneth S Nolley | 3 Sep 00:15 2005

Film-Philosophy CFP 2005

From:    editor <at> film-philosophy.com

[Sincere apologies if you receive this more than once.]

/////////////// F I L M - P H I L O S O P H Y
///////// International Salon-Journal
//////////////////// ISSN 1466-4615
//////// PO Box 26161, London SW8 4WD
///////////// http://www.film-philosophy.com

Over the course of 2005/2006 Film-Philosophy will be publishing a
number of issues containing extended review-articles on recent
publications in the following areas: Continental Film Philosophy;
Analytical Film Philosophy; Cultural and Popular Film Philosophy; and
Interpretation, Aesthetics, and World Cinema.

Thus Film-Philosophy seeks reviewers for the following books in these
areas -- PLEASE DO NOT REPLY TO THIS MESSAGE, but contact the
respective editor for each area.

==================================

Call for Review-Articles for Special Issues on

         CONTINENTAL FILM PHILOSOPHY

Editors: Sarah Cooper (Kings College London), David Martin-Jones (St
Andrews University), Douglas Morrey (University of Warwick), and
Benjamin Noys (University College, Chichester)

(Continue reading)

Kenneth S Nolley | 3 Sep 00:28 2005

Re: film majors at small schools

From:    "Conway, Maura" <conway1 <at> marshall.edu>

Ohio University's program is pretty well documented on their site.

http://www.ohiou.edu/film/

Maura Conway
Sat-chit-ananda...follow your bliss
Administrative Secretary
Department of Psychology
Marshall University

Office: Harris Hall 229
Voice: 304/696-2785
Fax: 304/696-2784

MODERATOR'S NOTE:  IT IS INDEED, THOUGH NOT SO MUCH A SMALL SCHOOL
PROGRAM...  --k

--

-- 
Ken Nolley
Professor of English
Willamette University
Salem, OR 97301
Phone: 503-370-6280
Fax: 503-370-6944

Kenneth S Nolley | 3 Sep 00:30 2005

Rogers and Astaire

From:    "David Snyder" <djsnyder1 <at> yahoo.com>

Dear All: I want to show an example of a Rogers and Astaire dance sequence
to an introductory history class of mine. What, for members of this list,
is the classic Rogers/Astaire sequence? I don't need novel suggestions,
necessarily. I'm looking for an epitomizing scene, even if cliche for
experts,  that shows them at their best.

Regards,
Dave Snyder
djsnyder1 <at> yahoo.com
Visiting Instructor
Grand Valley State Univ.

David J. Snyder
Visiting Instructor,
Grand Valley State University and
Ph.D candidate,
Southern Illinois University, Carbondale
djsnyder1 <at> yahoo.com

Kenneth S Nolley | 3 Sep 00:35 2005

CFP - Secrets and Spies: Reading Alias

From:    S.Abbott <at> RUS.ROEHAMPTON.AC.UK

Call For Papers: Secrets and Spies: Reading Alias

Edited by Stacey Abbott (Roehampton University) and Simon Brown (Kingston
University)

We are seeking proposals for a new edited collection on the American TV
series Alias.

As well as being an important series in its own right, Alias stands at a
central point in issues of American Quality Television (AQT). Its launch
came on the heels of the major supernatural based series like The X-Files
and Buffy the Vampire Slayer (BtVS), part of a move in AQT towards more
government agency and institution based series such as Without a Trace, 24
and CSI. Alias however remains the only such series to retain the
supernatural elements of its predecessors. Furthermore, the series’
first season came in the wake of the events of September 11, an event
that, given its preoccupation with American government institutions and
terrorism, was to prove influential to the series’ trajectory. In a
world where suddenly your neighbour could be a threat to you, no-one could
be trusted, and anyone who wasn’t you was Other, Alias’ themes of
doubles and duplicity was perfectly placed to comment upon both
contemporary global relations and the personal paranoias of post 9/11
citizens. But as much as Alias has reflected issues of global politics, at
its core have been issues of family and relationships, revolving around
the central character, Sydney Bristow.

The main aim of this collection is to bring together a wide range of
critical approaches from film and television studies, as well as from
(Continue reading)

Kenneth S Nolley | 3 Sep 18:40 2005

Re: Rogers and Astaire (multiple responses)

From:    MFRANK <at> bentley.edu

the extended final sequence of SWING TIME is brilliant for many
reasons, not least of which in that while being extraordinary as dance and
perhaps even as cinema, it is one of the rare sequences in which the
dancing actually has a crucial narrative arc, so the story gets told--and
the narrative actually gets resolved -- through the different segments of
the sequence

it's pretty damned wonderful

mike
***********************
From:    "Darryl Wiggers" <darryl <at> internet.look.ca>

For me, it's their first dance sequence in Swing Time. Rogers is a   dance
instructor, and Astaire pretends he's a beginner student. He   has just
finished demonstrating his complete lack of skill --
constantly tripping and falling -- when she gets fired. Then, to save  
the day, Astaire proves what a good teacher she is and they proceed   to
do a flawless tap number which so impresses the boss that it
sparks their rags-to-riches progress.

This is not a big number, or Busby Berkeley-type extravaganza -- it's   a
simple set, with a mostly static camera (as with most Astaire
numbers) that simply lets their dancing speak for itself.

*********************
From:    s-hill4 <at> uiuc.edu

(Continue reading)

Kenneth S Nolley | 5 Sep 16:27 2005

Re: Rogers and Astaire (multiple responses)

From:    pwhite <at> saintmarys.edu

I defer to others more expert on what would be the quintessential
Rogers Astaire dance number, but  I have used with sucess in a course in
Women in Film, the bandshell in the rain, "Isn't this a Lovely Day to Be 
Caught in the Rain," number in _Top Hat_ to look at the way in which
movement and
conversation flow into dance and music in romantic seduction...a lot to be
said
here about the way in which the choices made in dance and
movement though filled with art and artifice are not artificial, not an
extraneous dance number, but a lovely way to move the story
along.

Whatever you choose, if watched carefully with students will be
a revelation.

Best wishes,

Patrick

Patrick E. White
Vice President and Dean of Faculty
Saint Mary's College
Notre Dame, IN 46556
(574)  284-4575
***********************
From:    "Stacey Harwood" <shoshana <at> mindspring.com>

My vote would go to the "Pick Yourself Up" sequence in "Swing Time." (1936)
(Continue reading)

Kenneth S Nolley | 5 Sep 16:33 2005

Re: Film majors at small schools--two responses

From:    "Dorian Bowen" <ladytwentysix <at> yahoo.com>

I am a 2000 graduate of Towson University in Towson, Maryland.
  http://towson.edu/

At the time my major was Mass Communications with a concentration in Film,
but since my graduation, Film has broken off and become part of the new
Electronic Media Department.  It's chairperson is Dr. Barry Moore who I
consider a valuable friend.  This is the most recent class information.  I
was very pleased with the education I received there, though I am
admittedly jealous of students of this new department.

Hope this is of some help...

http://wwwnew.towson.edu/discover/Departmental%20Brochures/DB_Elec%20MediaFilm13C8.pdf

Regards,
Dorian
**************

From:    "Thomas Wartenberg" <twartenb <at> mtholyoke.edu>

Mount Holyoke is part of a 5-College Consortium and we now have a
5-College Film Major.  I don't have the details here, but I could get
them for you.  Essentially, we use the other colleges to back up our
offerings.  We only have one full-time film person and a half time
production person.  The rest are people like me who teach one or two
courses a year for film.

(Continue reading)

Kenneth S Nolley | 5 Sep 16:40 2005

Hurricane enrollment

From:    "Campbell, Andrea" <acampbell <at> STU.EDU>

I apologize for the cross-posting but I want to get this info out to as
many places as possible so we can help as many students as we can
STU Hurricane Support &Relief

ST.THOMAS UNIVERSITY
16401 NW 37th Avenue - Miami Gardens, FL 33054
Main: 305.628.6546 - Law School: 305.623.2310<?xml:namespace prefix = o ns
= "urn:schemas-microsoft-com:office:office" />

www.stu.edu

St. Thomas University offers a B.A. in Communications Arts that focuses on
developing the comprehensive communicator.  This includes oral, critical,
analytical and production skills.  The university also offers an M.A. in
Communication Arts with a specialization in Hispanic Media.

St. Thomas University has created an emergency admissions policy to assist
students who were already admitted or enrolled at colleges and
universities affected by Hurricane Katrina.

The policy for hurricane-affected undergraduate & graduate students includes:

*	Students will be admitted as special transfer students on a case-by-case
basis.
*	For the current, traditional fall term, students will be allowed to
register until September 12.
*	Students may also register for an evening term, which begins October 15.
*	Students will be enrolled based on availability in classrooms and based
(Continue reading)

Darryl Wiggers | 7 Sep 15:56 2005

Re: Rogers and Astaire

From: Belpedio, Dr. James [jbelpedio <at> BeckerCollege.edu] 

Hello. 
I missed the original query, and although it appears that it was limited
to Astaire and Rogers dance sequences, I have to cast my vote for the
"Begin the Beguine" sequence from the last part of Broadway Melody of
1940 with Astaire and Eleanor Powell. It should be viewed in its
entirety. The film is pedestrian at best, but the final sequence is a
work of art that will never be reproduced by human feet.

 
 JBelpedio
 Beckercollege
 Worcester, MA

Rebecca Bell-Metereau | 7 Sep 18:07 2005
Picon

Re: Constitution Day

From: "Schellhammer, Richard C." <rcs <at> uwa.edu> 

As part of the federally-mandated Constitution Day observation, we would
like to show the film "Mr. Smith Goes to Washington," on the
university's public access channel.  The film would be available to our
students as well as to cable subscribers in the local community; this
would be a non-commercial broadcast.  Given the age of this film, are
there any copyright issues that would legally prevent us from showing
this film?  The List's advice would be appreciated.

Richard Schellhammer

Dept. of History and Social Sciences

University of West Alabama

	
		
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