...Alex Pittman Abstract This article offers a political reading of In the Company of Men (dir. William Greaves, US, 1969), an industrial human relations and training film that Newsweek magazine commissioned the renowned black American filmmaker William Greaves to make. Tasked by his sponsors...

..., whatever seemed to benefit the art of benshi, I did. You have advised those people who want to become benshi above all to see silent films many times and become familiar with them.10 That’s right. In addition to the technical training as a narrator, a benshi must become an expert...

.... PQF has been making significant strides in improving funding structures, work climate, and training opportunities for women in all sectors of the German film industry. In the interview, Turanskyj also elaborates on the auto­didactic and collaborative nature of her film practice, significant influences...

... is a reading of Born into Brothels , an award-winning film documenting the codirector and photojournalist Zana Briski's humanitarian project to emancipate the children of prostitutes in India by training them in photography and creating avenues for them to sell their own photographs of brothel life. A close...

.... Stephanie, in Audiard's film, has both her legs amputated after an accident at her job training orca whales. The mute Eliza, in del Toro's, falls in love with an amphibian creature held captive in the laboratory where she works as a cleaner. Why these invocations of the sea and its creatures? What makes...

... that Varda began her directorial career with little knowledge of cinema (stories Varda herself echoed). This article excavates little-known 1950s photographic studies from her archives to show how, in her early cinematic career, she utilized her training as a photographer to conceive her early films...

...Xin Peng Abstract This article provides a comparative study of Anna May Wong and Sessue Hayakawa—the two most iconic stars of Asian descent of American cinema's silent era—by examining the reception history around their rare collaboration, the early sound film and yellow peril thriller Daughter...

.... As the prehistory and beginnings of cinema strongly suggest, film finds an apt metaphor in the railroad. The train can be seen as providing the prototypical ex- perience of looking at a framed, moving image, and as the mechanical double of the cinematic apparatus.l Both are a means of transporting...

...), in which the ambiguous terms of hospitality function as a kind of plot multiplier. Recall the situation: Guy (Farley Granger) is a cuckolded tennis star with political aspirations and an eye on a senator’s daughter as a spousal upgrade. Boarding a train at the start of the film, he meets a fan...

...Huey Copeland Over the last two decades, American artist Zoe Leonard (b. 1961) has emerged as one of the most visually attuned photographers of her generation, using images as a means of documentation, invention, remembrance, and critique. Regardless of the sites and objects on which she trains her...

... devices including the use of disembodied female voice-overs in training films for women and overt requests to a male audience to identify as women, as in Bea Lillie’s wartime short for the U.S. Army, Singing with the Stars. Several wartime films struggle to unite explicit...

... films—Hemolytic Streptococcus Control, a 1945 United States Navy training film, and The Eternal Fight, a 1948 United Nations film—a dialectic of visibility and invisibility pervades the films that attempt to represent contagious disease. The tension within these films, between indexical representation...

..., this didactic feature-length “women’s film” was to be shown by a trained lecturer as part of a larger venereal disease instruction program. However, shortly after the film’s production, due to the enormous “demand for the motion picture method of educating civilian groups,” ASHA...

...: The aesthetic of attraction addresses the audience directly, sometimes, as in these early train films, exaggerating this confrontation in an experience of assault. . . . The spectator does not get lost in the fictional world and its drama, but remains aware of the act of looking, the excitement...

... saturates the film as to render it at times incoherent — ­was arguably one of its appeals, allowing for multiple interpretations by various kinds of spectators. The Melodramatic Landscape In the opening scene of Leave Her to Heaven, Ellen meets novelist Richard Harland on a train to New...

.... Hitchcock on Strangers on a Train Like the hero, the camera, and the spectator, feminist film theory has fixed its gaze on Hitchcock’s blonde: we can’t take our eyes off her. And with good reason. Hollywood’s dream machine thrives on her fetishized surfaces. It is precisely because she...

... films about the violence and bloodshed during partition. Why is it that filmmakers continue to use carnage as a way to provoke audience reaction? Why is a train full of bloodied Moslem/ Hindu [sic] bodies used to illustrate the madness of that time? Doesn’t any one see that [Mehta] exploits...

... Clement. One notes already, in this starkness, the non-diegetization of the names of the people involved in the produc- tion of this film (in contrast to the now very common practice of weaving credits into the opening images). The first shot following the titles is of the platform of a train...

..., and the only one for the Marines, trained from boot camp to eroticize death, to achieve some form of consummation. The sniper sequence, the action climax of Full Metal Jacket, displays Kubrick's characteristic genre revisionism at full force. A pivotal aspect of this film...

... in the 1970s in contemporary women’s painting, poetry, or per- formance than in the still-expensive medium of video. Film Training in filmmaking is rare and costly. Several universities and colleges offer degrees in cinema and television, including six in Lebanon, where some graduation projects...