The Communication Review‚ 13:171–192‚ 2010 Copyright © Taylor & Francis Group‚ LLC ISSN: 1071-4421 print/1547-7487 online DOI: 10.1080/10714421.2010.505145 I Witness: Re-presenting Trauma in and by Cinema TAMAR ASHURI Department of Communication Studies‚ Ben-Gurion University‚ Beer-Sheva‚ Israel and School of Communication‚ Sapir College‚ D.N. Hof Ashkelon‚ Israel This article considers how film helps reconcile a traumatic collective past through representation of a personal trauma. It focuses
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Title Anger is the start of all problems. That is‚ what I learned when the King of Verona‚ Italy‚ decided to invite my family and a few other noble families to a feast. It was a great sunny‚ day in Verona‚ Italy‚ and the king had decided to invite a few of the noble families over to a feast. He called his servant and asked him to write invitations to the Capulets‚ the Montagues‚ and a few other noble families. The servant took off obediently‚ wrote some invitations‚ and delivered them to the guests
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In her essay Homo Pomo: The New Queer Cinema‚ B. Ruby Rich discusses homosexuality as it finds its own recognized foothold in the film industry with the introduction of queer film. Rich explores this new trend and presents us with the excitement of this new movement but also addresses the pitfalls that are present within it as well. She examines the response to the new movement of queer film at three of the most prestigious and influential film festivals of our time‚ Sundance‚ Amsterdam and Toronto
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Pursuit of the African American Identity: The American Cinema in 1960 The horror genre in the late 1960’s was booming in the film industry‚ with an abundance of social and racial issues. The majority of the social issues were predicated on the unequivocal civil rights among African Americans and Caucasians. The race of the cast in films began to change over the course of this decade‚ as the number of black actors increased exponentially. The majority of critics and historians in this genre attribute
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the regime: ethnic nationalism‚ genocidal violence and‚ of course‚ the character of Hitler himself. I believe‚ however‚ that some of the points he has indicated as “unique” were simply the transformation of a phenomena already existing in Fascist Italy‚ as the two regimes came to influence each other at some point of their history. I will first introduce the article; second‚ I will address the flaws of Kershaw’s argument - what aspects deserved a better explanation and what is not unique compared
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a) Gender Roles Italy is still largely a male-dominated society. Men expect women to take care of them. Women are tiring of what they see as a biased approach and becoming more likely to get an education and compete in workforces. Common workforce environment for women consists of office workers‚ managers‚ and sales clerks. Women are becoming more involved in politics‚ even though it is still dominated by males. Women faced hard times when it comes to balancing their careers and families—only around
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a famous Renaissance artist from outside Italy. He was born in Germany and he was the most famous German artist of the Renaissance. He was born on 21 May‚ 1471 in Nuremberg‚ south Germany and his father was a goldsmith. As a young man he began his training in drawing and woodcutting. He became an apprentice to the best known artist in the city of Nuremberg when he was fifteen years old. After this‚ he travelled to other European countries‚ including Italy‚ and he met other artists and was inspired
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Cinema Midterm Paper In this paper I have decided to compare and contrast Frank Capra’s “It Happened One Night” and Billy Wilder’s “Double Indemnity”. While screening both these movies in class I came across some noticeable differences between these two films‚ the main difference was in how women were portrayed and in who exactly was pulling all the strings and was in control the whole time. In the film “It Happened One Night” Ellie Andrews‚ played by Claudette Connolly‚ was put as a somewhat
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FILM LANGUAGE FILM LANGUAGE A Semiotics of the Cinema Christian Metz Translated by Michael Taylor The University of Chicago Press Published by arrangement with Oxford University Press‚ Inc. The University of Chicago Press‚ Chicago 60637 © 1974 by Oxford University Press‚ Inc. All rights reserved. English translation. Originally published 1974 Note on Translation © 1991 by the University of Chicago University of Chicago Press edition 1991 Printed in the United States of America 09 08 07 6
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Mitchell Anthony Reyes Cinema 123 Women in Film Women have definitely had a struggle in American society‚ on screen and off. As we have viewed each film this semester‚ women and their struggle shave definitely been portrayed in some way. As I have realized this‚ a thought has dawned on me. Not only do women have to deal with major challenges and obstacles to make better roles in film as a gender‚ but they also have to deal with the same kind of challenges if they happen to be a racial minority.
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