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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EDUCATION IN KERALA Dr. Santhosh Kumar Vallikkat Principal Farook B.Ed College ‚Kottakkal Malappuram‚ Kerala Abstract Attitudes about inclusion are extremely complex and vary from teacher to teacher and school to school. This article explores the attitudes of elementary teachers about inclusion of special needs children in general education. This study adopted a descriptive survey research design‚ with 600 teachers as participants from selected elementary schools in Kerala. Four hypotheses
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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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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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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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The art of cinema is like that of no other. It is the only form of art that contains both visual and audial elements‚ and the topic of the film can be about anything. A very common type of movie is historical based‚ which is a story that takes place at a very important moment in history. Some cinematic examples of this include some of the greatest movies of all time‚ like Schindler’s List‚ Braveheart‚ and Lawrence of Arabia. Another great movie of this genre is Saving Private Ryan. Released in 1998
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Scholars and scientists argue that movies depict the living dead in a fantastic‚ unrealistic fashion (Comentale 2014). Further criticism indicates that this “style over substance” approach to zombie cinema teaches human viewers lessons that may get them killed in a real encounter (Brooks 2003). Although that may be true‚ according to (Stanley 2013)‚ a zombie epidemic is theoretically possible and nurses have been trained and will be accountable to be
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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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Soviet Montage movement and the Classical Hollywood cinema. Both styles are simply ways to further alter films in a more creative manner. The Soviet Montage movement was one of the biggest contributions of the film industry in the Soviet Union to worldwide cinema‚ which relied heavily on editing. The Soviet Montage uses a series of images which connect together‚ making up the entirety of the film. In the American film industry‚ the Golden Age of cinema began in the late 1920s with the Classical Hollywood
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