Darryl Wiggers | 6 May 04:25 2008

Fwd: International Video Noir/Mystery/Crime Competition

From: Frank Burke <burkef <at> queensu.ca>

Please announce to your students and anyone else who might be  

If you have—-or have the urge to make--a mystery/crime/”noir” or similar
video, five minutes or less in length, you might consider submitting  
it to
Mystfest. Linked to a longstanding and prestigious international  
prize for noir and crime fiction in Italy (Premio Gran Giallo) and  
itself a
former international competition for mystery, crime, and noir film,  
has evolved this year into an international video competition. Cell  
video and more conventional digital video are all welcome.

The deadline is May 16.  Videos can be uploaded to the site www.mystfest.com
<http://www.mystfest.com> . For more information, consult the site.  
You will
find all the English-language material you need, including an  
form and an email address (concorso <at> mystfest.com) to obtain  
instructions for

Prizes will be awarded in three categories:
- best script
- best technical realization
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Darryl Wiggers | 6 May 04:26 2008

In Media Res Toys-themed week, May 5-9, 2008

From: Avi Santo <avisanto <at> hotmail.com>

Welcome to a special Toys-themed week from In Media Res. Please feel  
free to respond to the contributors’ comments.


This week’s In Media Res line-up:

Monday, May 5, 2008 – Raiford Guins (State University of New York,  
Stony Brook) presents: “Mint on Card (MOC)”

Tuesday, May 6, 2008 – Caryn Murphy (University of Wisconsin, Madison)  
presents: "'She'd Like to Be a Veterinarian': Parents, Parent  
Companies, and the Princess Movement”

Wednesday, May 7, 2008 – Henry Jenkins (Massachusetts Institute of  
Technology) presents: "‘Sometimes My Kids Seem Like a Bunch of  

Thursday, May 8, 2008 – Derek Johnson (University of Wisconsin,  
Madison) presents: " “‘The Legend of G.I. Joe…New from Marvel  
Comics!’: The Toy as Comic Book on Television”

Friday, May 9, 2008 – Avi Santo (Old Dominion University) presents:  
"‘Save Me Captain Stubing! Skeletor and The Lone Ranger have joined  
forces and are attacking the General Lee’: The place of play in  
building story-worlds”

Please check out these wonderful contributions and offer your thoughts  
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Darryl Wiggers | 6 May 04:28 2008

The Real Manchurian Candidate

From: "James Ward" <Jjward <at> cedarcrest.edu>

H-Film Colleagues,

Today's online edition of the _Berliner Morgenpost_
(http://www.morgenpost.de) carries a "Bilderspecial" with several stills
from a selection of about 150 recruitment and training films--of over
1500 produced--by the Nationale Volksarmee (National People's Army) in
the German Democratic Republic between 1949 and 1990. The selected films
are now available in a DVD edition entitled "Damals bei der NVA,"
roughly In the (Good) Old Days with the NVA. The entire collection now
resides in the Film Archive at the Bundesarchiv in Berlin.

One of the BMP stills reveals a secret never previously exposed. For a
film entitled "Verraeter" (Traitor), the image shows a young NVA soldier
who initially defected to the West, but then thought better of it and
returned to the GDR to confess his error. Apparently his rehabilitation
involved "special assignments."  Until now, we never knew this hidden
episode in the biography of our most staunchly anti-Communist President.
Now the "opening to China" may be seen in an entirely different light.

Here's the link:

The above, of course, is tongue-in-cheek. Still, the coincidence is
striking, for those of us who remember the "young" RMN.

James J. Ward
Professor of History
Director, Honors Program
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Darryl Wiggers | 6 May 21:05 2008

Looking for two Ealing films

From: Kathleen McDonough <Kathleen.McDonough <at> fredonia.edu>

Good Morning:

I'm doing research on British Empire films and am hoping members of  
the list
can help.  Does anyone know where to view two Ealing films: Where No
Vultures Fly (1951) and West of Zanzibar (1954) both directed by Harry  

Thank you.


Kathleen McDonough, M.F.A.
Communication Department
State University of New York at Fredonia

Darryl Wiggers | 9 May 08:24 2008

Re: Looking for two Ealing films

From: Leo Enticknap <ldge <at> enticknap.net>

Kathleen McDonough writes:

> Does anyone know where to view two Ealing films: Where No Vultures  
> Fly (1951) and West of Zanzibar (1954) both directed by Harry Watt?

If you can make it to London, the BFI has viewing prints of both (or  
at least it did when I researched the chapter in my PhD thesis on the  
Documentary Movement after WWII in 1997-98).  That having been said,  
I'm pretty sure that the print of 'No Vultures' I saw was nitrate  
(must have been among the last nitrate release prints made, I  
imagine), and the BFI no longer allow research viewings of their  
nitrate prints.

Another possibility for obtaining relatively obscure British films is  
to check the BFI's database (http://ftvdb.bfi.org.uk/searches.php) for  
a terrestrial TV broadcast in the last few years.  If you find one and  
know anybody who works in a UK university, then with the date, time  
and channel of the broadcast they can obtain a VHS or DVD from the  
British Universities' Film and Video Council.  Not sure how far they  
go back, but I think it's several years.


Dr. Leo Enticknap
Lecturer in Cinema
Institute of Communications Studies
3rd Floor, Houldsworth Building
University of Leeds
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Darryl Wiggers | 9 May 08:25 2008

Inq: Critical differences between video and film

From: "Lou Caton" <lcaton <at> wsc.ma.edu>

Dear List-Members,

I'm working on an article on the relation between film criticism and  
criticism. Would members have any knowledge of work being done in this  

I'm interested in exploring how the aesthetic difference between the two

Many thanks!

Feel free to contact me off- list, as well.

Lou Caton - lcaton <at> wsc.ma.edu

Darryl Wiggers | 9 May 17:21 2008

Re: Critical differences between video and film

From: <ldge <at> enticknap.net>

There are several sets of issues implicit in Lou Caton's request.

1 - The pure aesthetic experience itself.  A number of points:

a.  The means by which a succession of still frames are reproduced to  
the impression of continuous movement is totally different.  A film
projector works by obscuring the flow of light to the screen while one  
is replaced with the next, and then opening the light flow again.  The
relative periods of light and dark, as well as the speed of the  
pulldown are both crucial to producing the impression of a moving image
without perceptible flicker, and various different combinations have  
used.  Video, on the other hand, divides the picture up into a number of
horizontal lines (525 for NTSC, 625 for PAL).  The imaging device  
(e.g. a
cathode ray tube, LCD, TFT or LCOS display) 'refreshes' these lines  
one by
one, so that one picture is gradually replaced by the next.  Until  
most televisions used interlaced scanning (e.g. the lines are  
refreshed in a
1-3-5 followed by 2-4-6 rather than a 1-2-3-4-5-6 pattern), in order to
maintain the impression of even screen illumination.  This was done  
of the limitations of early CRT screens, and is now unnecessary, hence  
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Darryl Wiggers | 12 May 04:14 2008

Argentinean film

From: "Ana Lucia Araujo" <analucia.araujo <at> gmail.com>

Dear colleagues,

I am looking for an Argentinean film of the sixties (?) which title I
can't remember. Some scenes of this film were shown in the documentary
Afroargentinos (2005). The film is about a young Afro-Argentinean boy
who is in love with an Argentinean "white" young girl. The scene of
this film shown in the documentary Afro-Argentinos is the young girl's
birthday party. If you have any idea about the title of this movie
please let me know.

All the best,


Ana Lucia Araujo, Ph. D.

Postdoctoral Fellow, FQRSC
Harriet Tubman Institute for Research on the Global Migrations of
African Peoples
202B Founders College
York University
4700 Keele Street
Toronto, Ontario
Canada M3J 1P3

Darryl Wiggers | 13 May 18:25 2008

Re: Critical differences between video and film

From: Sarah Boslaugh <sboslaugh <at> yahoo.com>

Several which come to mind concern what can be
captured on video versus film, and how the image is

1. Film has a much greater range from blackest black
to whitest white (I've often heard that the range of
film is 100 while video is 30. although I'm not sure
what those numbers refer to); my idea of a nightmare
as a videographer is recording one of the "Nunsense"
plays with old-fashioned black and white habits

2. certain types of patterns and colors make video
cameras go crazy (reds, stripes)

3.  video records on a grid which doesn't change,
while film records on a random arrangement of
particles which is different with every frame of film

Kenneth S Nolley | 13 May 21:33 2008

Reply: Critical differences between video and film

From:    "Leo Enticknap" <ldge <at> enticknap.net>

>Sarah Boslaugh writes:
>2. certain types of patterns and colors make video cameras go crazy
>(reds, stripes)

That's thanks to interlacing.  The Wikipedia entry is actually very
good, and the animated GIF illustration shows perfectly what you're
talking about: http://en.wikipedia.org/wiki/Interlacing .


Dr. Leo Enticknap
Lecturer in Cinema
Institute of Communications Studies
3rd Floor, Houldsworth Building
University of Leeds
United Kingdom
Tel. +44 113 343 5853