From ranita at sarai.net  Tue Sep  2 10:20:52 2003
From: ranita at sarai.net (ranita)
Date: Tue, 2 Sep 2003 13:50:52 +0530
Subject: [Filmstudies] Film Studies Meeting
Message-ID: <200309021350.52131.ranita@sarai.net>

Hi Everyone!

The next discussion group meeting is on Tuesday, 9th September, at 2 pm. We 
will discuss Eisenstein's theory of film in relation to some of his work. The 
texts that we'll look at are 'A Dialectic Approach to Film Form' and 
Bordwell's 'Seizing the Spectator' in Chapter 2 of the Film Studies Reader.

Hope some of you can make it.

Best,
Ranita   


From sadan at sarai.net  Fri Sep  5 19:20:41 2003
From: sadan at sarai.net (sadan)
Date: Fri, 5 Sep 2003 13:20:41 -0400
Subject: [Filmstudies] Films Division of India website
Message-ID: <200309051320.41450.sadan@sarai.net>



 The Films Division of India has come up with a web site.
http://www.filmsdivision.org/

just check it. It sounds interesting and contains lot of information. 
Personally i have been trying to use this web site but having problems in 
connectivity. 
thanks
sadan
However you may rely on the information supplied by

"H-ASIA
September 2, 2003

Films Division of India website
(courtesy of Alan Grosenheider)
**********************************************************************
From: Alan Grosenheider <alang at u.washington.edu>

FYI:

Films Division holds about 8000 titles of Documentaries, Short films and
Animation films in its archives. The category of events covered there in
range from subjects of socio-cultural to political events.

http://www.filmsdivision.org/

This website contains hundreds of streaming video (if you have a fast
connection): about Gandhi, national movement, news reel films, music,
dance, experimental films, &c.  Mainly in English, but some Hindi.

It works best in Internet Explorer and both the interface and navigation
of site are not the best nor is the bibliographic citations for the films,
but nonetheless I think it could be quite useful.  I will add it to the
list of selected electronic resources on the South Asia Section website.

-alan


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Alan Grosenheider
Head, South Asia Section
University of Washington Libraries
133 Suzzallo Library
Box 352900
Seattle WA 98195-2900
206 685 2660 fax 206 616 6135
alang at u.washington.edu
http://faculty.washington.edu/alang"
                        <H-ASIA at h-net.msu.edu>
          For holidays or short absences send post to:
                <listserv at h-net.msu.edu> with message:
                        SET H-ASIA NOMAIL
       Upon return, send post with message SET H-ASIA MAIL
       H-ASIA WEB HOMEPAGE URL:    http://h-net.msu.edu/~asia/



From raviv at sarai.net  Wed Sep 10 08:26:31 2003
From: raviv at sarai.net (Ravi Vasudevan)
Date: Wed, 10 Sep 2003 11:56:31 +0530
Subject: [Filmstudies] online writings
Message-ID: <5.0.2.1.0.20030910115257.00a60260@mail.sarai.net>

online filmstudies writings

http://www.film-philosophy.com/portal/writings/ online writings by the 
journal film-philosophy (link available through sarai website); this 
includes reviews of Laura Mulvey's 1996 collection, Fetishism and 
Curiosity, as well as Mulvey's response to these critiques
http://otal.umd.edu/~rkolker/AlteringEye/ for, apparently, the complete 
text of Robert Philip Kolker's writings on modernist international cinema, 
The Altering Eye





Ravi Vasudevan
The Sarai Progamme: City/Media/Public Domain

Senior Fellow,
Centre for the Study of Developing Societies
29 Rajpur Road, Delhi-110054

Tel. 2394-21190 extension 330
Fax. 2394-3450




From sadan at sarai.net  Wed Sep 10 21:32:42 2003
From: sadan at sarai.net (sadan)
Date: Wed, 10 Sep 2003 15:32:42 -0400
Subject: [Filmstudies] Death of Leni Reifenstahl
Message-ID: <200309101532.42928.sadan@sarai.net>

Let meread a news from today's news paper
 
" Berlin : Photographer and Nazi -era film maker Leni reifenstahl whose 
hypnotic depiction of Hitler's Nuremberg rally "Truimph of the Will" was 
renowned and despised as the best propaganda film ever made, is dead, a 
German magazine reported on Monday, quoting a long time friend. She was 101. 
Despitre critical acclaim for her later photographs of the African Nuba 
people and of undersea flora and fauna, she spent more than half her life 
trying to live down the films she made for Hitler and for having admired the 
tyrant who devasted europe and all but eliminated its Jews. Even as late as 
2002, she was investigated for Holocaust denial after she said she did not 
know that Gypsies taken from concentration camps to be used as extras in one 
of her wartime films died in the camps. Authorities eventually dropped the 
case, saying her comments did not rise to a prosecutable level.-- AP"
----The HIndu, wednes day, September 10, 2003, p.14.

you acn see a lot about Leni Reifenstahl on this site( you may have to 
translate this page, its both in english and German.) which claims to be the 
official site on her. Apart from a lot of information the site has very good 
photos of Leni Reifenstahl reminding you that she was once upon a time knwon 
as the girl friend of Hitler and the NAzi information minister, Josef Goebbel 
was the regular visiter of her house. This site also has a link to Susan 
Sontag's famous article( in PDF format) "FAscinating Fascism". 

<www.leni-riefenstahl.com/Leni%20Riefenstahl-Links.htm>  

<www.lenireifenstahl.org> 

Following is a link of a brief column you may like to read ( this is obviously 
nbot a serious stuff). It came on her 100 birthday
<www.salon.com/ent/movies/feature/2002/10/ 01/leni_riefenstahl/?CP=RDF&DN=310>

 
This is a galery of photographs on Leni Reifenstahl
 <www.psymon.com/art/leni>

For a good article on Leni feifenstahl and her works specially her 'Olympia', 
locating in historical context you may like to see "Michael Mackenzie From 
Athens to Berlin: The 1936 Olympics and Leni Riefenstahl's Olympia", Crtical 
Inquiry, Volume 29, Number 2, Winter 2003. Synopsis is available on 
<http://www.uchicago.edu/research/jnl-crit-inq/v29/v29n2.mackenzie.html>

For the time being i think this may be enough.

thanks
sadan. 
P.S. "Fascinating FAscism" and abovementioned Critical Inquiry article are 
with me. Anyone interested can have it.  


From sadan at sarai.net  Fri Sep 12 22:20:36 2003
From: sadan at sarai.net (sadan)
Date: Fri, 12 Sep 2003 16:20:36 -0400
Subject: [Filmstudies] some references
Message-ID: <200309121620.36342.sadan@sarai.net>


Today i got following reference on Bollywood cinema and thought to share you.

Nazima Parveen, " Hindi Cinema and South Asian Communities in U.K.", Economic 
and Political weekly, September 6, 2003, pp:3753-3754. ( this a two page 
article but provides some interesting and useful statistical facts).

The 'biblio' of  July-August 2003 has few review essays on some of the recent 
books related to Bollywood.
Books reviewed are written by Ismail Merchant, Mrinal sen, Shyam Benegal, 
Shoma A. Chatterjee, Gayatri chatterjee, edited book by Aruna Basudev, Latika 
Padgaonkar and Rashmi Doraiswami ( "Being and Becoming :The Cinemas of 
Asia"), Jonathan Torgovnik and Chris England.

cheers
sadan. 


From sadan at sarai.net  Sat Sep 13 18:05:25 2003
From: sadan at sarai.net (sadan)
Date: Sat, 13 Sep 2003 12:05:25 -0400
Subject: [Filmstudies] some references
In-Reply-To: <200309121746.48519.ravikant@sarai.net>
References: <200309121620.36342.sadan@sarai.net>
	<200309121746.48519.ravikant@sarai.net>
Message-ID: <200309131205.25845.sadan@sarai.net>

Dear Sir,
I came across these references in print form this is why only references that 
too in very informal manner. EPW has a web site but i think the entry is 
restricted in some sense and this is why i have not given the web site  
reference.
However, i will keep your suggesation in mind.
thanks
saadan
On Friday 12 September 2003 08:16 am, you wrote:
> dear sadan,
>
> how about posting the article or at least the link, friend?
>
> ravikant
>
> On Saturday 13 September 2003 01:50 am, sadan wrote:
> > Today i got following reference on Bollywood cinema and thought to share
> > you.
> >
> > Nazima Parveen, " Hindi Cinema and South Asian Communities in U.K.",
> > Economic and Political weekly, September 6, 2003, pp:3753-3754. ( this a
> > two page article but provides some interesting and useful statistical
> > facts).
> >
> > The 'biblio' of  July-August 2003 has few review essays on some of the
> > recent books related to Bollywood.
> > Books reviewed are written by Ismail Merchant, Mrinal sen, Shyam Benegal,
> > Shoma A. Chatterjee, Gayatri chatterjee, edited book by Aruna Basudev,
> > Latika Padgaonkar and Rashmi Doraiswami ( "Being and Becoming :The
> > Cinemas of Asia"), Jonathan Torgovnik and Chris England.
> >
> > cheers
> > sadan.
> > _______________________________________________
> > Filmstudies mailing list
> > Filmstudies at mail.sarai.net
> > http://mail.sarai.net/mailman/listinfo/filmstudies




From sadan at sarai.net  Sat Sep 13 18:54:43 2003
From: sadan at sarai.net (sadan)
Date: Sat, 13 Sep 2003 12:54:43 -0400
Subject: [Filmstudies] CFP: New Cinemas Journal
Message-ID: <200309131254.43433.sadan@sarai.net>

This is a cross posting from H-Asia but i thought people may be interested to 
have a look at it.
sadan.


H-ASIA
September 12, 2003

CFP: New Cinemas Journal
********************************
From:   easrh at ARTS-01.NOVELL.LEEDS.AC.UK (R. Hutchinson)

Dear all,

The following is a call for papers for a new journal in cinema 
studies, edited by the World Cinema Group at Leeds. The journal, 
New Cinemas , explores film from all over the world, so we hope 
that colleagues working on Japanese, Chinese, Korean and other 
Asian cinemas will consider this as an outlet for their work.

Best regards

Rachael Hutchinson


---------------------------------------------------------------------------

New Cinemas: Journal of Contemporary Film

Volume 2 (2004)

edited by World Cinema Group, University of Leeds


CALL FOR PAPERS 


New Cinemas is a refereed academic journal devoted to the study of

contemporary film around the world. Recent developments have 
brought about a renewal of film industries in the Far and Middle 
East, Europe, Africa and America. However, there is a marked 
tendency to focus exclusively upon issues of otherness' and 
marginality, ignoring the specificities of these films. New Cinemas 
challenges this value judgment to explore approaches that

posit the egalitarian value of cinema.


There is a strong focus on what is happening now. The focus is on 
work being produced and new ways of approaching evaluation of 
this work?not as if the work is done in a historical vacuum, but on 
current work: We recognise filmmakers in Argentina or in Iran 
always have behind them a tradition they can use or react against: 
we believe the whole experience of avant-garde' film-making and 
the explosion of styles to come out of the 1960s is relevant

To?and accounts for?the work of contemporary film-makers. This 
journal breaks down barriers and places World cinema on an equal 
footing with the ?mainstream? by creating a space where ?marginal?
voices can find a vehicle for expression.


The journal invites contributions from a wide and diverse community 
of researchers. It seeks to generate and promote research from 
both experienced researchers and to encourage those new to this 
field. The aim is to provide a forum for debate arising from findings 
as well as theory and methodologies. A range of research 
approaches and methods is encouraged. The research field of New 
Cinemas will include first the specificities of current work in the 
New Cinemas, across the broadest possible geographic range, 
furthering understanding of the specific through the articulation of

an egalitarian view of all Cinemas and second the specificities of 
the New Cinemas, including evaluations through the histories, 
societies, politics, cultures and other works that may bring 
influence and definition.


Submissions should be in the following:

*   Full Articles (5000-6000 words) should include original work of

    a research or developmental nature and/or proposed new

    methods or ideas which are clearly and thoroughly presented

    and argued. 

*   Notes (2000-5000 words) should include reports of research in

    progress, or reflections on the research process or research

    evaluations. 

*   Reports (1000-2500 words) include perspectives on

    conferences, seminars and events pertaining to the subject

    matter of the journal.

*   Reviews (500-1500 words) include any published work (print or

    electronic) relevant to a further understanding of the subject

    matter of the journal.


We are seeking suitable papers for consideration by the editorial 
group. In the first instance, manuscripts should be submitted in two 
printed hard copies, double-spaced. All style conventions and 
further details of the journal can be found at:

             http://www.intellectbooks.com/journals/

(See ?Information and Submissions? and ?Notes for Authors?)


Please send manuscripts to: New Cinemas, C/o School of Modern

Languages and Cultures, University of Leeds, Leeds LS2 9JT,

U.K. 


Forthcoming deadlines for submission:

Volume 2:1 - 1 November 2003

Volume 2:2 - 1 February 2004

Volume 2:3 - 1 May 2004


For further information and article submission, please contact:

Song Hwee Lim (General Editor). Email: s.h.lim at leeds.ac.uk
or

Claire Taylor (Volume 2 Number 1 Co-Editor). Email: c.l.taylor at leeds.ac.uk

---------------------------------------------------------------------------

Dr Rachael Hutchinson
Lecturer in Japanese Studies
Department of East Asian Studies
University of Leeds
Leeds LS2 9JT
tel: +44 (0)113 343 3497
fax: +44 (0)113 343 6741
email: r.hutchinson at leeds.ac.uk




From ranita at sarai.net  Thu Sep 18 22:21:40 2003
From: ranita at sarai.net (ranita)
Date: Fri, 19 Sep 2003 01:51:40 +0530
Subject: [Filmstudies] Laura Mulvey @ Sarai
Message-ID: <200309190151.40410.ranita@sarai.net>

Hi Everyone!

Sarai invites you to a talk on      
 
       'Passing Time: Reflections on the Cinema from a New Technological Age' 
        by Laura Mulvey, School of History of Art, Film and Visual Media,
        Birkbeck College, University of London

on Monday, September 29, 2003, 4:00 pm     
at the Seminar Room, CSDS, 29 Rajpur Road, Delhi 54.
       
This will be followed by a screening of the film 
'Disgraced Monuments' (1993), 48 minutes
Directed by Laura Mulvey and Mark Lewis
 
In 'Disgraced Monuments', Mulvey uses rare archival footage and interviews 
with sculptors, art historians, gallery and museum directors to examine the 
fate of monuments of Lenin, Stalin and other leaders of the former Soviet 
Union after the collapse of communism. 

Organised in collaboration with The British Council and Centre for the Study 
of Culture and Society (CSCS), Bangalore, as part of the 'Talking Films' 
series. 




From ranita at sarai.net  Thu Sep 18 22:26:57 2003
From: ranita at sarai.net (ranita)
Date: Fri, 19 Sep 2003 01:56:57 +0530
Subject: [Filmstudies] Study group
Message-ID: <200309190156.57330.ranita@sarai.net>

Hi!

The next meeting is on Tuesday 23rd September at 2 pm. As a precursor to Laura 
Mulvey's visit we will be discussing the readings in the following chapters:

10. Psychoanalytical Paradigms and Feminist Film Theory
Film and Pyschoanalysis, by Barbara Creed 
Visual Pleasure and Narrative Cinema, by Laura Mulvey
Pleasurable Negotiations, by Christine Gledhill			

&

7. Melodrama
The Melodramatic Field: An Invesigation, by Christine Gledhill	
Meanings of Melodrama, by Ben Singer		

and follow up the discussion with a screening of Blue Velvet (1986), Dir David 
Lynch

 
Cheers,
Ranita


From raviv at sarai.net  Fri Sep 19 06:34:25 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Fri, 19 Sep 2003 10:04:25 +0530
Subject: [Filmstudies] fascinating fascism
Message-ID: <5.2.1.1.0.20030919100324.00a72a78@mail.sarai.net>


helios.acomp.usf.edu/~edmason/ RTFdocuments/Sontag_FF.rtf

Susan Sontag's article on Leni Reifenstahl is available at this site.

Best, Ravi

Ravi Vasudevan
The Sarai Programme: City/Media/Public Domain

Senior Fellow
Centre for the Study of Developing Societies
Delhi 110054

Tel: 2394-2199 x330
Fax: 2394-3450 




From raviv at sarai.net  Fri Sep 19 09:23:56 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Fri, 19 Sep 2003 12:53:56 +0530
Subject: [Filmstudies] fascinating fascism
In-Reply-To: <5.2.1.1.0.20030919100324.00a72a78@mail.sarai.net>
Message-ID: <5.2.1.1.0.20030919124517.00ae0328@mail.sarai.net>

For the film studies session on 23 October:

could I request our two new participants, Smita and Sabita, to present the 
articles by Christine Gledhill (The Melodramatic Field) and Barbara Creed 
(Pyschoanalysis and feminist film theory)?

I would also appreciate volunteers for the other articles

Ben Singer, The meanings of melodrama
Laura Mulvey, Visual Pleasure and Narrative Cinema
Christine Gledhill, Pleasurable Negotiations

I will provide a supplementary presentation of Mulvey's work on melodrama, 
and on the question of fetishism.

My sense of the best presentational order:
Visual Pleasure and Narrative Cinema
Barbara Creed
Gledhill, pleasurable negotiations
Gledhill, the melodramatic field
Ben Singer, meanings of melodrama

As Ranita has indicated, the session will start at 2pm, and, at its 
conclusion (I would hazard 430 or 5pm), we will have a screening of David 
Lynch's Blue Velvet. The screening is informal, but it's open, so  do feel 
free to invite others.

Could Smita and Sabita confirm, and others volunteer as rapidly as possible?

Looking forward to a lively session,

best, Ravi




From renu at sarai.net  Sun Sep 21 13:20:37 2003
From: renu at sarai.net (renu)
Date: Sun, 21 Sep 2003 16:50:37 +0530
Subject: [Filmstudies] russian art after 1850
Message-ID: <a05111b01bb93384291eb@[192.168.1.37]>

hi folks!

for a brief overview of major movements in russian art after 1850 
(constructivism + suprematism etc in a nutshell).

http://www.lsa.umich.edu/slavic/dept/WebBasedLanguage/Russian/Culture/OverviewModernRussianArt.htm

cheers,
renu.


From raviv at sarai.net  Mon Sep 22 12:15:23 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Mon, 22 Sep 2003 15:45:23 +0530
Subject: [Filmstudies] jumpcut
Message-ID: <5.2.1.1.0.20030922154411.00a73470@mail.sarai.net>

http://www.ejumpcut.org/archive/index.html

for jumpcut, the radical American film/media studies journal: archives, 
index to print issues, and 2 online issues available here

Ravi Vasudevan
The Sarai Programme: City/Media/Public Domain

Senior Fellow
Centre for the Study of Developing Societies
Delhi 110054

Tel: 2394-2199 x330
Fax: 2394-3450 




From renu at sarai.net  Wed Sep 24 11:38:04 2003
From: renu at sarai.net (renu)
Date: Wed, 24 Sep 2003 15:08:04 +0530
Subject: [Filmstudies] TINY TV!!
Message-ID: <a05111b06bb971625b09a@[192.168.1.37]>

A supposedly highly recommended TV show on Indian Television--TINY TV 
on CARTOON NETWORK--

here is a news report from when it started-->

MUMBAI: Cartoon Network announced today the launch of a daily 
three-hour block for pre-schoolers - Tiny TV that kicks off from 27 
January.


Prime among the Tiny TV programming is Make Way for Noddy, based on 
the adventures of the lovable Enid Blyton character. The BBC 
Worldwide production thus is finally making its bow in India.

BBC Worldwide had tied up with Egmont Imaginations to launch the 
Noddy books in the Indian market in October 2001 and also made public 
its plans for the Make way for Noddy TV series. At the time, speaking 
about its proposed animated series, BBC officials had said that they 
were in the final stages of the production of the Indian episodes of 
Make Way for Noddy, an all new 100- episode digitally produced 
animated TV series. The 10 minutes of animation in each episode was 
to be complemented with 12 minutes of live action with children in 
India.


Identifying a target group hitherto unserviced by the reigning kids' 
channel in the country, Cartoon Network has zeroed in on the 2-6 age 
group, which it found during a commissioned study, was being watched 
by a huge chunk of the sub-six population. The result is Tiny TV, a 
weekday block comprising the likes of Bob The Builder, Noddy, Pingu, 
Kipper and Oswald, all of whom will avowedly provide a safe and 
positive environment for preschoolers

Admitting that the daily 11 am - 2 PM block was an unfocused one thus 
far, Turner senior vice president Ian Diamond said today that Tiny TV 
would familiarize toddlers with social concepts like cooperation, 
sibling rivalry, a 'can do' attitude, importance of friends and 
family, etiquette. The block will be repeated on weekends between 
10.30 am and noon.

The new programming block will bring in another untapped TG for the 
channel, one that had been erratically mined by Kermit with its 
Sesame Street shows and unprofitably by Nickelodeon so far. While 
educational shows on the lines of Sesame Street do not figure in the 
first lot of shows announced for the Tiny TV block, Diamond says the 
channel would add to the programming depending on the ongoing inhouse 
research. India is the first country where the channel has launched a 
special band under the brand Tiny TV, and Diamond says there are 
currently no plans to include it in the two hour programming extended 
to Zee TV daily.

The channel had earlier made an attempt to include other TGs in its 
fold in late 2001 with the inclusion of Toonami, targeted at the 15 
to 24 year olds. While Turner's vice president research Duncan Morris 
says the late night block for older toon fans does draw in as many 
viewers as do the music channels, Diamond says the channel will now 
concentrate on its core audience - kids.

The line up -

Bob The Builder - the number one preschool programme in Germany, 
Australia and Japan, the stop-frame animated series of half hour 
episodes encourages friends to help each other, solve problems 
together and provide shoulders to lean on.
Kipper - based on the best selling books of Mick Inkpen, the 
adventures of the affable hound and his animal friends feature easy 
to follow storylines that encourage creative thinking and reinforce 
messages like cooperation, courtesy, kindness and learning through 
adventures.
Make Way for Noddy - based on the unforgettable series by Enid 
Blyton, Noddy combines the magic of the original books with the best 
in modern animation technology.
Oswald - an ever curious octopus, Oswald represents 'every kid' 
learning to stand on his own eight feet.
Pingu - a classic stop frame Claymation series, each episode tackles 
subjects ranging from social etiquette to sibling rivalry to sharing 
tasks to help your parents.


From renu at sarai.net  Wed Sep 24 11:47:50 2003
From: renu at sarai.net (renu)
Date: Wed, 24 Sep 2003 15:17:50 +0530
Subject: [Filmstudies] modern art/torture cells-nettime news
Message-ID: <a05111b08bb9718843f41@[192.168.1.37]>

>>Surreal torture in modern art cells
>>
>>January 28 2003
>>
>>
>>A Spanish art historian has uncovered what was alleged to be the first use
>>of modern art as a deliberate form of torture, with the discovery that
>>mind-bending prison cells were built by anarchist artists 65 years ago
>>during the country's bloody civil war.
>>
>>Bauhaus artists such as Kandinsky and Klee, as well as the surrealist
>>film-maker Luis Bunuel and his friend Salvador Dali, were said to be the
>>inspiration behind secret cells and torture centres built in Barcelona and
>>elsewhere, El Pais newspaper has reported.
>>
>>Most were the work of an enthusiastic French anarchist, Alphonse Laurencic,
>>who invented a form of "psychotechnic" torture, according to the research of
>>the historian Jose Milicua.
>>
>>Mr Milicua's information came from a 1939 account of Laurencic's trial
>>before a Francoist military tribunal.
>>
>>Laurencic, who claimed to be a painter and conductor in civilian life,
>>created his so-called "coloured cells" as a contribution to the fight
>>against General Franco's right-wing rebel forces.
>>
>>
>>The cells, built in 1938 and reportedly hidden from foreign journalists who
>>visited the makeshift jails on Vallmajor and Saragossa streets, were as
>>inspired by ideas of geometric abstraction and surrealism as they were by
>>avant garde art theories on the psychological properties of colours.
>>
>>Beds were placed at a 20-degree angle, making them hard to sleep on, and the
>>floors of the 1.8 metre by 0.9 metre cells were scattered with bricks and
>>other geometric blocks to prevent prisoners from walking backwards and
>>forwards, according to the account of Laurencic's trial.
>>
>>The only option left to prisoners was staring at the walls, which were
>>curved and covered with mind-altering patterns of cubes, squares, straight
>>lines and spirals which utilised tricks of colour, perspective and scale to
>>cause mental confusion and distress.
>>
>>Lighting effects gave the impression that the dizzying patterns on the wall
>>were moving.
>>
>>A stone bench was similarly designed to send a prisoner sliding to the
>>floor, Mr Milicua said. Some cells were painted with tar so that they would
>>warm up in the sun and produce asphyxiating heat.
>>
>>The Guardian
>>
>>
>>
>>This story was found at:
>>http://www.smh.com.au/articles/2003/01/27/1043534004548.html
>>
>>
>>
>>___________________________________________________
>>
>>http://subsol.c3.hu/subsol_2/contributors0/warktext.html
>>                    ... we no longer have roots, we have aerials ...
>>___________________________________________________
>>
>>_________________________________________________________________
>>Tired of spam? Get advanced junk mail protection with MSN 8.
>>http://join.msn.com/?page=features/junkmail
>>
>>#  distributed via <nettime>: no commercial use without permission
>>#  <nettime> is a moderated mailing list for net criticism,
>>#  collaborative text filtering and cultural politics of the nets
>>#  more info: majordomo at bbs.thing.net and "info nettime-l" in the msg body
>>#  archive: http://www.nettime.org contact: nettime at bbs.thing.net

___________________________________
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From raviv at sarai.net  Thu Sep 25 07:55:40 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Thu, 25 Sep 2003 11:25:40 +0530
Subject: [Filmstudies] film comment archive
Message-ID: <5.2.1.1.0.20030925112447.00a74648@mail.sarai.net>

http://filmlinc.com/archive/fcm/fcmarchive.htm

This contains online archive for the American film journal Filmcomment, and 
includes a host of interesting interviews with film directors from 1996 
onwards...

Ravi Vasudevan
The Sarai Programme: City/Media/Public Domain

Senior Fellow
Centre for the Study of Developing Societies
Delhi 110054

Tel: 2394-2199 x330
Fax: 2394-3450 




From frolicer_19 at yahoo.co.in  Thu Sep 25 13:11:08 2003
From: frolicer_19 at yahoo.co.in (=?iso-8859-1?q?anurag=20tyagi?=)
Date: Thu, 25 Sep 2003 12:11:08 +0100 (BST)
Subject: [Filmstudies] (no subject)
Message-ID: <20030925111108.54672.qmail@web8206.mail.in.yahoo.com>

Hi People.....
 
Check this out...

Subject:  [foil] a teacher?s cry

more on the manufacturing of consensus in this

country... 

?Learning to Be Stupid in the Culture of Cash?

By Luciana Bohne

08/12/03: You might think that reading about a

Podunk

University?s English teacher?s attempt to connect

the

dots between the poverty of American education and

the

gullibility of the American public may be a little

trivial, considering we?ve embarked on the first,

openly-confessed imperial adventure of senescent

capitalism in the US, but bear with me. The question

my experiences in the classroom raise is why have

these young people been educated to such abysmal

depths of ignorance.

?I don?t read,? says a junior without the slightest

self-consciousness. She has not the smallest hint

that

professing a habitual preference for not reading at

a

university is like bragging in ordinary life that

one

chooses not to breathe. She is in my ?World

Literature? class. She has to read novels by

African,

Latin American, and Asian authors. She is not there

by

choice: it?s just a ?distribution? requirement for

graduation, and it?s easier than philosophy -she

thinks.

The novel she has trouble reading is Isabel

Allende?s

?Of Love and Shadows,? set in the post-coup terror

of

Pinochet?s junta?s Nazi-style regime in Chile,

1973-1989. No one in the class, including the

English

majors, can write a focused essay of analysis, so I

have to teach that. No one in the class knows where

Chile is, so I make photocopies of general

information

from world guide surveys. No one knows what

socialism

or fascism is, so I spend time writing up digestible

definitions. No one knows what Plato?s ?Allegory of

the Cave? is, and I supply it because it?s

impossible

to understand the theme of the novel without a basic

knowledge of that work - which used to be required

reading a few generations ago. And no one in the

class

has ever heard of 11 September 1973, the

CIA-sponsored

coup which terminated Chile?s mature democracy.

There

is complete shock when I supply US de-classified

documents proving US collusion with the generals?

coup

and the assassination of elected president, Salvador

Allende.

Geography, history, philosophy, and political

science

?          all missing from their preparation. I realize that

my students are, in fact, the oppressed, as Paulo

Freire?s ?The Pedagogy of the Oppressed? pointed

out,

and that they are paying for their own oppression.

So,

I patiently explain: no, our government has not been

the friend of democracy in Chile; yes, our

government

did fund both the coup and the junta

torture-machine;

yes, the same goes for most of Latin America. Then,

one student asks, ?Why?? Well, I say, the CIA and

the

corporations run roughshod over the world in part

because of the ignorance of the people of the United

States, which apparently is induced by formal

education, reinforced by the media, and cheered by

Hollywood. As the more people read, the less they

know

and the more indoctrinated they become, you get this

national enabling stupidity to attain which they go

into bottomless pools of debt. If it weren?t tragic,

it would be funny.

Meanwhile, this expensive stupidity facilitates US

funding of the bloody work of death squads, juntas,

and terror regimes abroad. It permits the war we are

waging - an unfair, illegal, unjust, illogical, and

expensive war, which announces to the world the

failure of our intelligence and, by the way, the

creeping weakness of our economic system. Every man,

woman, and child killed by a bomb, bullet, famine,

or

polluted water is a murder - and a war crime. And it

signals the impotence of American education to

produce

brains equipped with the bare necessities for

democratic survival: analyzing and asking questions.

Let me put it succinctly: I don?t think serious

education is possible in America. Anything you touch

in the annals of knowledge is a foe of this system

of

commerce and profit, run amok. The only education

that

can be permitted is if it acculturates to the status

quo, as happens in the expensive schools, or if it

produces people to police and enforce the status

quo,

as in the state school where I teach. Significantly,

at my school, which is a third-tier university,

servicing working-class, first-generation college

graduates who enter lower-echelon jobs in the civil

service, education, or middle management, the

favored

academic concentrations are communications, criminal

justice, and social work?basically how to mystify,

cage, and control the masses.

This education is a vast waste of the resources and

potential of the young. It is boring beyond belief

and

useless?except to the powers and interests that

depend on it. When A Ukranian student, a three-week

arrival on these shores, writes the best-organized

and

most profound essay in English of the class,

American

education has something to answer for?especially to

our youth.

But the detritus and debris that American education

has become is both planned and instrumental. It?s

why

our media succeeds in telling lies. It?s why our

secretary of state can quote from a graduate-student

paper, claiming confidently that the stolen data

came

from the highest intelligence sources. It?s why

Picasso?s ?Guernica? can be covered up during his

preposterous ?report? to the UN without anyone

guessing the political significance of this gesture

and the fascist sensibility that it protects.

Cultural fascism manifests itself in an aversion to

thought and cultural refinement. ?When I hear the

word

?culture,?? Goebbels said, ?I reach for my

revolver.?

One of the infamous and telling reforms the Pinochet

regime implemented was educational reform. The basic

goal was to end the university?s role as a source of

social criticism and political opposition. The order

came to dismantle the departments of philosophy,

social and political science, humanities and the

arts?areas in which political discussions were

likely

to occur. The universities were ordered to issue

degrees only in business management, computer

programming, engineering, medicine and dentistry -

vocational training schools, which in reality is

what

American education has come to resemble, at least at

the level of mass education. Our students can

graduate

without ever touching a foreign language,

philosophy,

elements of any science, music or art, history, and

political science, or economics. In fact, our

students

learn to live in an electoral democracy devoid of

politics - a feature the dwindling crowds at the

voting booths well illustrate.

The poet Percy Bysshe Shelley wrote that, in the

rapacity that the industrial revolution created,

people first surrendered their minds or the capacity

to reason, then their hearts or the capacity to

empathize, until all that was left of the original

human equipment was the senses or their selfish

demands for gratification. At that point, humans

entered the stage of market commodities and market

consumers?one more thing in the commercial

landscape.

Without minds or hearts, they are instrumentalized

to

buy whatever deadens their clamoring and frightened

senses?official lies, immoral wars, Barbies, and

bankrupt educations.

Meanwhile, in my state, the governor has ordered a

10%

cut across the board for all departments in the

state

?          including education.

   

Luciana Bohne teaches film and literature at

Edinboro

 


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From ranita at sarai.net  Tue Sep  2 10:20:52 2003
From: ranita at sarai.net (ranita)
Date: Tue, 2 Sep 2003 13:50:52 +0530
Subject: [Filmstudies] Film Studies Meeting
Message-ID: <200309021350.52131.ranita@sarai.net>

Hi Everyone!

The next discussion group meeting is on Tuesday, 9th September, at 2 pm. We 
will discuss Eisenstein's theory of film in relation to some of his work. The 
texts that we'll look at are 'A Dialectic Approach to Film Form' and 
Bordwell's 'Seizing the Spectator' in Chapter 2 of the Film Studies Reader.

Hope some of you can make it.

Best,
Ranita   


From sadan at sarai.net  Fri Sep  5 19:20:41 2003
From: sadan at sarai.net (sadan)
Date: Fri, 5 Sep 2003 13:20:41 -0400
Subject: [Filmstudies] Films Division of India website
Message-ID: <200309051320.41450.sadan@sarai.net>



 The Films Division of India has come up with a web site.
http://www.filmsdivision.org/

just check it. It sounds interesting and contains lot of information. 
Personally i have been trying to use this web site but having problems in 
connectivity. 
thanks
sadan
However you may rely on the information supplied by

"H-ASIA
September 2, 2003

Films Division of India website
(courtesy of Alan Grosenheider)
**********************************************************************
From: Alan Grosenheider <alang at u.washington.edu>

FYI:

Films Division holds about 8000 titles of Documentaries, Short films and
Animation films in its archives. The category of events covered there in
range from subjects of socio-cultural to political events.

http://www.filmsdivision.org/

This website contains hundreds of streaming video (if you have a fast
connection): about Gandhi, national movement, news reel films, music,
dance, experimental films, &c.  Mainly in English, but some Hindi.

It works best in Internet Explorer and both the interface and navigation
of site are not the best nor is the bibliographic citations for the films,
but nonetheless I think it could be quite useful.  I will add it to the
list of selected electronic resources on the South Asia Section website.

-alan


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Alan Grosenheider
Head, South Asia Section
University of Washington Libraries
133 Suzzallo Library
Box 352900
Seattle WA 98195-2900
206 685 2660 fax 206 616 6135
alang at u.washington.edu
http://faculty.washington.edu/alang"
                        <H-ASIA at h-net.msu.edu>
          For holidays or short absences send post to:
                <listserv at h-net.msu.edu> with message:
                        SET H-ASIA NOMAIL
       Upon return, send post with message SET H-ASIA MAIL
       H-ASIA WEB HOMEPAGE URL:    http://h-net.msu.edu/~asia/



From raviv at sarai.net  Wed Sep 10 08:26:31 2003
From: raviv at sarai.net (Ravi Vasudevan)
Date: Wed, 10 Sep 2003 11:56:31 +0530
Subject: [Filmstudies] online writings
Message-ID: <5.0.2.1.0.20030910115257.00a60260@mail.sarai.net>

online filmstudies writings

http://www.film-philosophy.com/portal/writings/ online writings by the 
journal film-philosophy (link available through sarai website); this 
includes reviews of Laura Mulvey's 1996 collection, Fetishism and 
Curiosity, as well as Mulvey's response to these critiques
http://otal.umd.edu/~rkolker/AlteringEye/ for, apparently, the complete 
text of Robert Philip Kolker's writings on modernist international cinema, 
The Altering Eye





Ravi Vasudevan
The Sarai Progamme: City/Media/Public Domain

Senior Fellow,
Centre for the Study of Developing Societies
29 Rajpur Road, Delhi-110054

Tel. 2394-21190 extension 330
Fax. 2394-3450




From sadan at sarai.net  Wed Sep 10 21:32:42 2003
From: sadan at sarai.net (sadan)
Date: Wed, 10 Sep 2003 15:32:42 -0400
Subject: [Filmstudies] Death of Leni Reifenstahl
Message-ID: <200309101532.42928.sadan@sarai.net>

Let meread a news from today's news paper
 
" Berlin : Photographer and Nazi -era film maker Leni reifenstahl whose 
hypnotic depiction of Hitler's Nuremberg rally "Truimph of the Will" was 
renowned and despised as the best propaganda film ever made, is dead, a 
German magazine reported on Monday, quoting a long time friend. She was 101. 
Despitre critical acclaim for her later photographs of the African Nuba 
people and of undersea flora and fauna, she spent more than half her life 
trying to live down the films she made for Hitler and for having admired the 
tyrant who devasted europe and all but eliminated its Jews. Even as late as 
2002, she was investigated for Holocaust denial after she said she did not 
know that Gypsies taken from concentration camps to be used as extras in one 
of her wartime films died in the camps. Authorities eventually dropped the 
case, saying her comments did not rise to a prosecutable level.-- AP"
----The HIndu, wednes day, September 10, 2003, p.14.

you acn see a lot about Leni Reifenstahl on this site( you may have to 
translate this page, its both in english and German.) which claims to be the 
official site on her. Apart from a lot of information the site has very good 
photos of Leni Reifenstahl reminding you that she was once upon a time knwon 
as the girl friend of Hitler and the NAzi information minister, Josef Goebbel 
was the regular visiter of her house. This site also has a link to Susan 
Sontag's famous article( in PDF format) "FAscinating Fascism". 

<www.leni-riefenstahl.com/Leni%20Riefenstahl-Links.htm>  

<www.lenireifenstahl.org> 

Following is a link of a brief column you may like to read ( this is obviously 
nbot a serious stuff). It came on her 100 birthday
<www.salon.com/ent/movies/feature/2002/10/ 01/leni_riefenstahl/?CP=RDF&DN=310>

 
This is a galery of photographs on Leni Reifenstahl
 <www.psymon.com/art/leni>

For a good article on Leni feifenstahl and her works specially her 'Olympia', 
locating in historical context you may like to see "Michael Mackenzie From 
Athens to Berlin: The 1936 Olympics and Leni Riefenstahl's Olympia", Crtical 
Inquiry, Volume 29, Number 2, Winter 2003. Synopsis is available on 
<http://www.uchicago.edu/research/jnl-crit-inq/v29/v29n2.mackenzie.html>

For the time being i think this may be enough.

thanks
sadan. 
P.S. "Fascinating FAscism" and abovementioned Critical Inquiry article are 
with me. Anyone interested can have it.  


From sadan at sarai.net  Fri Sep 12 22:20:36 2003
From: sadan at sarai.net (sadan)
Date: Fri, 12 Sep 2003 16:20:36 -0400
Subject: [Filmstudies] some references
Message-ID: <200309121620.36342.sadan@sarai.net>


Today i got following reference on Bollywood cinema and thought to share you.

Nazima Parveen, " Hindi Cinema and South Asian Communities in U.K.", Economic 
and Political weekly, September 6, 2003, pp:3753-3754. ( this a two page 
article but provides some interesting and useful statistical facts).

The 'biblio' of  July-August 2003 has few review essays on some of the recent 
books related to Bollywood.
Books reviewed are written by Ismail Merchant, Mrinal sen, Shyam Benegal, 
Shoma A. Chatterjee, Gayatri chatterjee, edited book by Aruna Basudev, Latika 
Padgaonkar and Rashmi Doraiswami ( "Being and Becoming :The Cinemas of 
Asia"), Jonathan Torgovnik and Chris England.

cheers
sadan. 


From sadan at sarai.net  Sat Sep 13 18:05:25 2003
From: sadan at sarai.net (sadan)
Date: Sat, 13 Sep 2003 12:05:25 -0400
Subject: [Filmstudies] some references
In-Reply-To: <200309121746.48519.ravikant@sarai.net>
References: <200309121620.36342.sadan@sarai.net>
	<200309121746.48519.ravikant@sarai.net>
Message-ID: <200309131205.25845.sadan@sarai.net>

Dear Sir,
I came across these references in print form this is why only references that 
too in very informal manner. EPW has a web site but i think the entry is 
restricted in some sense and this is why i have not given the web site  
reference.
However, i will keep your suggesation in mind.
thanks
saadan
On Friday 12 September 2003 08:16 am, you wrote:
> dear sadan,
>
> how about posting the article or at least the link, friend?
>
> ravikant
>
> On Saturday 13 September 2003 01:50 am, sadan wrote:
> > Today i got following reference on Bollywood cinema and thought to share
> > you.
> >
> > Nazima Parveen, " Hindi Cinema and South Asian Communities in U.K.",
> > Economic and Political weekly, September 6, 2003, pp:3753-3754. ( this a
> > two page article but provides some interesting and useful statistical
> > facts).
> >
> > The 'biblio' of  July-August 2003 has few review essays on some of the
> > recent books related to Bollywood.
> > Books reviewed are written by Ismail Merchant, Mrinal sen, Shyam Benegal,
> > Shoma A. Chatterjee, Gayatri chatterjee, edited book by Aruna Basudev,
> > Latika Padgaonkar and Rashmi Doraiswami ( "Being and Becoming :The
> > Cinemas of Asia"), Jonathan Torgovnik and Chris England.
> >
> > cheers
> > sadan.
> > _______________________________________________
> > Filmstudies mailing list
> > Filmstudies at mail.sarai.net
> > http://mail.sarai.net/mailman/listinfo/filmstudies




From sadan at sarai.net  Sat Sep 13 18:54:43 2003
From: sadan at sarai.net (sadan)
Date: Sat, 13 Sep 2003 12:54:43 -0400
Subject: [Filmstudies] CFP: New Cinemas Journal
Message-ID: <200309131254.43433.sadan@sarai.net>

This is a cross posting from H-Asia but i thought people may be interested to 
have a look at it.
sadan.


H-ASIA
September 12, 2003

CFP: New Cinemas Journal
********************************
From:   easrh at ARTS-01.NOVELL.LEEDS.AC.UK (R. Hutchinson)

Dear all,

The following is a call for papers for a new journal in cinema 
studies, edited by the World Cinema Group at Leeds. The journal, 
New Cinemas , explores film from all over the world, so we hope 
that colleagues working on Japanese, Chinese, Korean and other 
Asian cinemas will consider this as an outlet for their work.

Best regards

Rachael Hutchinson


---------------------------------------------------------------------------

New Cinemas: Journal of Contemporary Film

Volume 2 (2004)

edited by World Cinema Group, University of Leeds


CALL FOR PAPERS 


New Cinemas is a refereed academic journal devoted to the study of

contemporary film around the world. Recent developments have 
brought about a renewal of film industries in the Far and Middle 
East, Europe, Africa and America. However, there is a marked 
tendency to focus exclusively upon issues of otherness' and 
marginality, ignoring the specificities of these films. New Cinemas 
challenges this value judgment to explore approaches that

posit the egalitarian value of cinema.


There is a strong focus on what is happening now. The focus is on 
work being produced and new ways of approaching evaluation of 
this work?not as if the work is done in a historical vacuum, but on 
current work: We recognise filmmakers in Argentina or in Iran 
always have behind them a tradition they can use or react against: 
we believe the whole experience of avant-garde' film-making and 
the explosion of styles to come out of the 1960s is relevant

To?and accounts for?the work of contemporary film-makers. This 
journal breaks down barriers and places World cinema on an equal 
footing with the ?mainstream? by creating a space where ?marginal?
voices can find a vehicle for expression.


The journal invites contributions from a wide and diverse community 
of researchers. It seeks to generate and promote research from 
both experienced researchers and to encourage those new to this 
field. The aim is to provide a forum for debate arising from findings 
as well as theory and methodologies. A range of research 
approaches and methods is encouraged. The research field of New 
Cinemas will include first the specificities of current work in the 
New Cinemas, across the broadest possible geographic range, 
furthering understanding of the specific through the articulation of

an egalitarian view of all Cinemas and second the specificities of 
the New Cinemas, including evaluations through the histories, 
societies, politics, cultures and other works that may bring 
influence and definition.


Submissions should be in the following:

*   Full Articles (5000-6000 words) should include original work of

    a research or developmental nature and/or proposed new

    methods or ideas which are clearly and thoroughly presented

    and argued. 

*   Notes (2000-5000 words) should include reports of research in

    progress, or reflections on the research process or research

    evaluations. 

*   Reports (1000-2500 words) include perspectives on

    conferences, seminars and events pertaining to the subject

    matter of the journal.

*   Reviews (500-1500 words) include any published work (print or

    electronic) relevant to a further understanding of the subject

    matter of the journal.


We are seeking suitable papers for consideration by the editorial 
group. In the first instance, manuscripts should be submitted in two 
printed hard copies, double-spaced. All style conventions and 
further details of the journal can be found at:

             http://www.intellectbooks.com/journals/

(See ?Information and Submissions? and ?Notes for Authors?)


Please send manuscripts to: New Cinemas, C/o School of Modern

Languages and Cultures, University of Leeds, Leeds LS2 9JT,

U.K. 


Forthcoming deadlines for submission:

Volume 2:1 - 1 November 2003

Volume 2:2 - 1 February 2004

Volume 2:3 - 1 May 2004


For further information and article submission, please contact:

Song Hwee Lim (General Editor). Email: s.h.lim at leeds.ac.uk
or

Claire Taylor (Volume 2 Number 1 Co-Editor). Email: c.l.taylor at leeds.ac.uk

---------------------------------------------------------------------------

Dr Rachael Hutchinson
Lecturer in Japanese Studies
Department of East Asian Studies
University of Leeds
Leeds LS2 9JT
tel: +44 (0)113 343 3497
fax: +44 (0)113 343 6741
email: r.hutchinson at leeds.ac.uk




From ranita at sarai.net  Thu Sep 18 22:21:40 2003
From: ranita at sarai.net (ranita)
Date: Fri, 19 Sep 2003 01:51:40 +0530
Subject: [Filmstudies] Laura Mulvey @ Sarai
Message-ID: <200309190151.40410.ranita@sarai.net>

Hi Everyone!

Sarai invites you to a talk on      
 
       'Passing Time: Reflections on the Cinema from a New Technological Age' 
        by Laura Mulvey, School of History of Art, Film and Visual Media,
        Birkbeck College, University of London

on Monday, September 29, 2003, 4:00 pm     
at the Seminar Room, CSDS, 29 Rajpur Road, Delhi 54.
       
This will be followed by a screening of the film 
'Disgraced Monuments' (1993), 48 minutes
Directed by Laura Mulvey and Mark Lewis
 
In 'Disgraced Monuments', Mulvey uses rare archival footage and interviews 
with sculptors, art historians, gallery and museum directors to examine the 
fate of monuments of Lenin, Stalin and other leaders of the former Soviet 
Union after the collapse of communism. 

Organised in collaboration with The British Council and Centre for the Study 
of Culture and Society (CSCS), Bangalore, as part of the 'Talking Films' 
series. 




From ranita at sarai.net  Thu Sep 18 22:26:57 2003
From: ranita at sarai.net (ranita)
Date: Fri, 19 Sep 2003 01:56:57 +0530
Subject: [Filmstudies] Study group
Message-ID: <200309190156.57330.ranita@sarai.net>

Hi!

The next meeting is on Tuesday 23rd September at 2 pm. As a precursor to Laura 
Mulvey's visit we will be discussing the readings in the following chapters:

10. Psychoanalytical Paradigms and Feminist Film Theory
Film and Pyschoanalysis, by Barbara Creed 
Visual Pleasure and Narrative Cinema, by Laura Mulvey
Pleasurable Negotiations, by Christine Gledhill			

&

7. Melodrama
The Melodramatic Field: An Invesigation, by Christine Gledhill	
Meanings of Melodrama, by Ben Singer		

and follow up the discussion with a screening of Blue Velvet (1986), Dir David 
Lynch

 
Cheers,
Ranita


From raviv at sarai.net  Fri Sep 19 06:34:25 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Fri, 19 Sep 2003 10:04:25 +0530
Subject: [Filmstudies] fascinating fascism
Message-ID: <5.2.1.1.0.20030919100324.00a72a78@mail.sarai.net>


helios.acomp.usf.edu/~edmason/ RTFdocuments/Sontag_FF.rtf

Susan Sontag's article on Leni Reifenstahl is available at this site.

Best, Ravi

Ravi Vasudevan
The Sarai Programme: City/Media/Public Domain

Senior Fellow
Centre for the Study of Developing Societies
Delhi 110054

Tel: 2394-2199 x330
Fax: 2394-3450 




From raviv at sarai.net  Fri Sep 19 09:23:56 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Fri, 19 Sep 2003 12:53:56 +0530
Subject: [Filmstudies] fascinating fascism
In-Reply-To: <5.2.1.1.0.20030919100324.00a72a78@mail.sarai.net>
Message-ID: <5.2.1.1.0.20030919124517.00ae0328@mail.sarai.net>

For the film studies session on 23 October:

could I request our two new participants, Smita and Sabita, to present the 
articles by Christine Gledhill (The Melodramatic Field) and Barbara Creed 
(Pyschoanalysis and feminist film theory)?

I would also appreciate volunteers for the other articles

Ben Singer, The meanings of melodrama
Laura Mulvey, Visual Pleasure and Narrative Cinema
Christine Gledhill, Pleasurable Negotiations

I will provide a supplementary presentation of Mulvey's work on melodrama, 
and on the question of fetishism.

My sense of the best presentational order:
Visual Pleasure and Narrative Cinema
Barbara Creed
Gledhill, pleasurable negotiations
Gledhill, the melodramatic field
Ben Singer, meanings of melodrama

As Ranita has indicated, the session will start at 2pm, and, at its 
conclusion (I would hazard 430 or 5pm), we will have a screening of David 
Lynch's Blue Velvet. The screening is informal, but it's open, so  do feel 
free to invite others.

Could Smita and Sabita confirm, and others volunteer as rapidly as possible?

Looking forward to a lively session,

best, Ravi




From renu at sarai.net  Sun Sep 21 13:20:37 2003
From: renu at sarai.net (renu)
Date: Sun, 21 Sep 2003 16:50:37 +0530
Subject: [Filmstudies] russian art after 1850
Message-ID: <a05111b01bb93384291eb@[192.168.1.37]>

hi folks!

for a brief overview of major movements in russian art after 1850 
(constructivism + suprematism etc in a nutshell).

http://www.lsa.umich.edu/slavic/dept/WebBasedLanguage/Russian/Culture/OverviewModernRussianArt.htm

cheers,
renu.


From raviv at sarai.net  Mon Sep 22 12:15:23 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Mon, 22 Sep 2003 15:45:23 +0530
Subject: [Filmstudies] jumpcut
Message-ID: <5.2.1.1.0.20030922154411.00a73470@mail.sarai.net>

http://www.ejumpcut.org/archive/index.html

for jumpcut, the radical American film/media studies journal: archives, 
index to print issues, and 2 online issues available here

Ravi Vasudevan
The Sarai Programme: City/Media/Public Domain

Senior Fellow
Centre for the Study of Developing Societies
Delhi 110054

Tel: 2394-2199 x330
Fax: 2394-3450 




From renu at sarai.net  Wed Sep 24 11:38:04 2003
From: renu at sarai.net (renu)
Date: Wed, 24 Sep 2003 15:08:04 +0530
Subject: [Filmstudies] TINY TV!!
Message-ID: <a05111b06bb971625b09a@[192.168.1.37]>

A supposedly highly recommended TV show on Indian Television--TINY TV 
on CARTOON NETWORK--

here is a news report from when it started-->

MUMBAI: Cartoon Network announced today the launch of a daily 
three-hour block for pre-schoolers - Tiny TV that kicks off from 27 
January.


Prime among the Tiny TV programming is Make Way for Noddy, based on 
the adventures of the lovable Enid Blyton character. The BBC 
Worldwide production thus is finally making its bow in India.

BBC Worldwide had tied up with Egmont Imaginations to launch the 
Noddy books in the Indian market in October 2001 and also made public 
its plans for the Make way for Noddy TV series. At the time, speaking 
about its proposed animated series, BBC officials had said that they 
were in the final stages of the production of the Indian episodes of 
Make Way for Noddy, an all new 100- episode digitally produced 
animated TV series. The 10 minutes of animation in each episode was 
to be complemented with 12 minutes of live action with children in 
India.


Identifying a target group hitherto unserviced by the reigning kids' 
channel in the country, Cartoon Network has zeroed in on the 2-6 age 
group, which it found during a commissioned study, was being watched 
by a huge chunk of the sub-six population. The result is Tiny TV, a 
weekday block comprising the likes of Bob The Builder, Noddy, Pingu, 
Kipper and Oswald, all of whom will avowedly provide a safe and 
positive environment for preschoolers

Admitting that the daily 11 am - 2 PM block was an unfocused one thus 
far, Turner senior vice president Ian Diamond said today that Tiny TV 
would familiarize toddlers with social concepts like cooperation, 
sibling rivalry, a 'can do' attitude, importance of friends and 
family, etiquette. The block will be repeated on weekends between 
10.30 am and noon.

The new programming block will bring in another untapped TG for the 
channel, one that had been erratically mined by Kermit with its 
Sesame Street shows and unprofitably by Nickelodeon so far. While 
educational shows on the lines of Sesame Street do not figure in the 
first lot of shows announced for the Tiny TV block, Diamond says the 
channel would add to the programming depending on the ongoing inhouse 
research. India is the first country where the channel has launched a 
special band under the brand Tiny TV, and Diamond says there are 
currently no plans to include it in the two hour programming extended 
to Zee TV daily.

The channel had earlier made an attempt to include other TGs in its 
fold in late 2001 with the inclusion of Toonami, targeted at the 15 
to 24 year olds. While Turner's vice president research Duncan Morris 
says the late night block for older toon fans does draw in as many 
viewers as do the music channels, Diamond says the channel will now 
concentrate on its core audience - kids.

The line up -

Bob The Builder - the number one preschool programme in Germany, 
Australia and Japan, the stop-frame animated series of half hour 
episodes encourages friends to help each other, solve problems 
together and provide shoulders to lean on.
Kipper - based on the best selling books of Mick Inkpen, the 
adventures of the affable hound and his animal friends feature easy 
to follow storylines that encourage creative thinking and reinforce 
messages like cooperation, courtesy, kindness and learning through 
adventures.
Make Way for Noddy - based on the unforgettable series by Enid 
Blyton, Noddy combines the magic of the original books with the best 
in modern animation technology.
Oswald - an ever curious octopus, Oswald represents 'every kid' 
learning to stand on his own eight feet.
Pingu - a classic stop frame Claymation series, each episode tackles 
subjects ranging from social etiquette to sibling rivalry to sharing 
tasks to help your parents.


From renu at sarai.net  Wed Sep 24 11:47:50 2003
From: renu at sarai.net (renu)
Date: Wed, 24 Sep 2003 15:17:50 +0530
Subject: [Filmstudies] modern art/torture cells-nettime news
Message-ID: <a05111b08bb9718843f41@[192.168.1.37]>

>>Surreal torture in modern art cells
>>
>>January 28 2003
>>
>>
>>A Spanish art historian has uncovered what was alleged to be the first use
>>of modern art as a deliberate form of torture, with the discovery that
>>mind-bending prison cells were built by anarchist artists 65 years ago
>>during the country's bloody civil war.
>>
>>Bauhaus artists such as Kandinsky and Klee, as well as the surrealist
>>film-maker Luis Bunuel and his friend Salvador Dali, were said to be the
>>inspiration behind secret cells and torture centres built in Barcelona and
>>elsewhere, El Pais newspaper has reported.
>>
>>Most were the work of an enthusiastic French anarchist, Alphonse Laurencic,
>>who invented a form of "psychotechnic" torture, according to the research of
>>the historian Jose Milicua.
>>
>>Mr Milicua's information came from a 1939 account of Laurencic's trial
>>before a Francoist military tribunal.
>>
>>Laurencic, who claimed to be a painter and conductor in civilian life,
>>created his so-called "coloured cells" as a contribution to the fight
>>against General Franco's right-wing rebel forces.
>>
>>
>>The cells, built in 1938 and reportedly hidden from foreign journalists who
>>visited the makeshift jails on Vallmajor and Saragossa streets, were as
>>inspired by ideas of geometric abstraction and surrealism as they were by
>>avant garde art theories on the psychological properties of colours.
>>
>>Beds were placed at a 20-degree angle, making them hard to sleep on, and the
>>floors of the 1.8 metre by 0.9 metre cells were scattered with bricks and
>>other geometric blocks to prevent prisoners from walking backwards and
>>forwards, according to the account of Laurencic's trial.
>>
>>The only option left to prisoners was staring at the walls, which were
>>curved and covered with mind-altering patterns of cubes, squares, straight
>>lines and spirals which utilised tricks of colour, perspective and scale to
>>cause mental confusion and distress.
>>
>>Lighting effects gave the impression that the dizzying patterns on the wall
>>were moving.
>>
>>A stone bench was similarly designed to send a prisoner sliding to the
>>floor, Mr Milicua said. Some cells were painted with tar so that they would
>>warm up in the sun and produce asphyxiating heat.
>>
>>The Guardian
>>
>>
>>
>>This story was found at:
>>http://www.smh.com.au/articles/2003/01/27/1043534004548.html
>>
>>
>>
>>___________________________________________________
>>
>>http://subsol.c3.hu/subsol_2/contributors0/warktext.html
>>                    ... we no longer have roots, we have aerials ...
>>___________________________________________________
>>
>>_________________________________________________________________
>>Tired of spam? Get advanced junk mail protection with MSN 8.
>>http://join.msn.com/?page=features/junkmail
>>
>>#  distributed via <nettime>: no commercial use without permission
>>#  <nettime> is a moderated mailing list for net criticism,
>>#  collaborative text filtering and cultural politics of the nets
>>#  more info: majordomo at bbs.thing.net and "info nettime-l" in the msg body
>>#  archive: http://www.nettime.org contact: nettime at bbs.thing.net

___________________________________
An Internal Sarai List
internal at mail.sarai.net
http://mail.sarai.net/mailman/listinfo/internal


From raviv at sarai.net  Thu Sep 25 07:55:40 2003
From: raviv at sarai.net (Ravi S. Vasudevan)
Date: Thu, 25 Sep 2003 11:25:40 +0530
Subject: [Filmstudies] film comment archive
Message-ID: <5.2.1.1.0.20030925112447.00a74648@mail.sarai.net>

http://filmlinc.com/archive/fcm/fcmarchive.htm

This contains online archive for the American film journal Filmcomment, and 
includes a host of interesting interviews with film directors from 1996 
onwards...

Ravi Vasudevan
The Sarai Programme: City/Media/Public Domain

Senior Fellow
Centre for the Study of Developing Societies
Delhi 110054

Tel: 2394-2199 x330
Fax: 2394-3450 




From frolicer_19 at yahoo.co.in  Thu Sep 25 13:11:08 2003
From: frolicer_19 at yahoo.co.in (=?iso-8859-1?q?anurag=20tyagi?=)
Date: Thu, 25 Sep 2003 12:11:08 +0100 (BST)
Subject: [Filmstudies] (no subject)
Message-ID: <20030925111108.54672.qmail@web8206.mail.in.yahoo.com>

Hi People.....
 
Check this out...

Subject:  [foil] a teacher?s cry

more on the manufacturing of consensus in this

country... 

?Learning to Be Stupid in the Culture of Cash?

By Luciana Bohne

08/12/03: You might think that reading about a

Podunk

University?s English teacher?s attempt to connect

the

dots between the poverty of American education and

the

gullibility of the American public may be a little

trivial, considering we?ve embarked on the first,

openly-confessed imperial adventure of senescent

capitalism in the US, but bear with me. The question

my experiences in the classroom raise is why have

these young people been educated to such abysmal

depths of ignorance.

?I don?t read,? says a junior without the slightest

self-consciousness. She has not the smallest hint

that

professing a habitual preference for not reading at

a

university is like bragging in ordinary life that

one

chooses not to breathe. She is in my ?World

Literature? class. She has to read novels by

African,

Latin American, and Asian authors. She is not there

by

choice: it?s just a ?distribution? requirement for

graduation, and it?s easier than philosophy -she

thinks.

The novel she has trouble reading is Isabel

Allende?s

?Of Love and Shadows,? set in the post-coup terror

of

Pinochet?s junta?s Nazi-style regime in Chile,

1973-1989. No one in the class, including the

English

majors, can write a focused essay of analysis, so I

have to teach that. No one in the class knows where

Chile is, so I make photocopies of general

information

from world guide surveys. No one knows what

socialism

or fascism is, so I spend time writing up digestible

definitions. No one knows what Plato?s ?Allegory of

the Cave? is, and I supply it because it?s

impossible

to understand the theme of the novel without a basic

knowledge of that work - which used to be required

reading a few generations ago. And no one in the

class

has ever heard of 11 September 1973, the

CIA-sponsored

coup which terminated Chile?s mature democracy.

There

is complete shock when I supply US de-classified

documents proving US collusion with the generals?

coup

and the assassination of elected president, Salvador

Allende.

Geography, history, philosophy, and political

science

?          all missing from their preparation. I realize that

my students are, in fact, the oppressed, as Paulo

Freire?s ?The Pedagogy of the Oppressed? pointed

out,

and that they are paying for their own oppression.

So,

I patiently explain: no, our government has not been

the friend of democracy in Chile; yes, our

government

did fund both the coup and the junta

torture-machine;

yes, the same goes for most of Latin America. Then,

one student asks, ?Why?? Well, I say, the CIA and

the

corporations run roughshod over the world in part

because of the ignorance of the people of the United

States, which apparently is induced by formal

education, reinforced by the media, and cheered by

Hollywood. As the more people read, the less they

know

and the more indoctrinated they become, you get this

national enabling stupidity to attain which they go

into bottomless pools of debt. If it weren?t tragic,

it would be funny.

Meanwhile, this expensive stupidity facilitates US

funding of the bloody work of death squads, juntas,

and terror regimes abroad. It permits the war we are

waging - an unfair, illegal, unjust, illogical, and

expensive war, which announces to the world the

failure of our intelligence and, by the way, the

creeping weakness of our economic system. Every man,

woman, and child killed by a bomb, bullet, famine,

or

polluted water is a murder - and a war crime. And it

signals the impotence of American education to

produce

brains equipped with the bare necessities for

democratic survival: analyzing and asking questions.

Let me put it succinctly: I don?t think serious

education is possible in America. Anything you touch

in the annals of knowledge is a foe of this system

of

commerce and profit, run amok. The only education

that

can be permitted is if it acculturates to the status

quo, as happens in the expensive schools, or if it

produces people to police and enforce the status

quo,

as in the state school where I teach. Significantly,

at my school, which is a third-tier university,

servicing working-class, first-generation college

graduates who enter lower-echelon jobs in the civil

service, education, or middle management, the

favored

academic concentrations are communications, criminal

justice, and social work?basically how to mystify,

cage, and control the masses.

This education is a vast waste of the resources and

potential of the young. It is boring beyond belief

and

useless?except to the powers and interests that

depend on it. When A Ukranian student, a three-week

arrival on these shores, writes the best-organized

and

most profound essay in English of the class,

American

education has something to answer for?especially to

our youth.

But the detritus and debris that American education

has become is both planned and instrumental. It?s

why

our media succeeds in telling lies. It?s why our

secretary of state can quote from a graduate-student

paper, claiming confidently that the stolen data

came

from the highest intelligence sources. It?s why

Picasso?s ?Guernica? can be covered up during his

preposterous ?report? to the UN without anyone

guessing the political significance of this gesture

and the fascist sensibility that it protects.

Cultural fascism manifests itself in an aversion to

thought and cultural refinement. ?When I hear the

word

?culture,?? Goebbels said, ?I reach for my

revolver.?

One of the infamous and telling reforms the Pinochet

regime implemented was educational reform. The basic

goal was to end the university?s role as a source of

social criticism and political opposition. The order

came to dismantle the departments of philosophy,

social and political science, humanities and the

arts?areas in which political discussions were

likely

to occur. The universities were ordered to issue

degrees only in business management, computer

programming, engineering, medicine and dentistry -

vocational training schools, which in reality is

what

American education has come to resemble, at least at

the level of mass education. Our students can

graduate

without ever touching a foreign language,

philosophy,

elements of any science, music or art, history, and

political science, or economics. In fact, our

students

learn to live in an electoral democracy devoid of

politics - a feature the dwindling crowds at the

voting booths well illustrate.

The poet Percy Bysshe Shelley wrote that, in the

rapacity that the industrial revolution created,

people first surrendered their minds or the capacity

to reason, then their hearts or the capacity to

empathize, until all that was left of the original

human equipment was the senses or their selfish

demands for gratification. At that point, humans

entered the stage of market commodities and market

consumers?one more thing in the commercial

landscape.

Without minds or hearts, they are instrumentalized

to

buy whatever deadens their clamoring and frightened

senses?official lies, immoral wars, Barbies, and

bankrupt educations.

Meanwhile, in my state, the governor has ordered a

10%

cut across the board for all departments in the

state

?          including education.

   

Luciana Bohne teaches film and literature at

Edinboro

 


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